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MARY PICKFORD’S
Daring Choice of the

Ten Greatest Stars

BARBARA STANWYCK
from ORPHAN WAIF
to FILM THRONE

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GI Qheat Octress.
ARRIVES...

Glamorous Dagover! . Bet ler

beauty exotic as a tropic night...

Her personality — fascinating ae
Her artistry —unedualled Sia il bre
flame of her genius blazed a trail
of triumph thru the capitals of
Europe... Now she is destined to
intrigue America with her allure,
her subtlety, her tremendous
power of emotional expression...
Her premiere in “The Woman
from Monte Carlo” is an event

not to be missed... Watch for it.
r)

Sereen play and dialogue by Harvey Thew
Directed by MICHAEL CURTIZ:

The WOMAN
~ MONTE CARLO

with

Gn Berlin @ Dagover is the foremost actress of their stage and screen WALTER HU S a O N
In Paris e Dagover is idolized by famous modistes for her WARREN WILLIAM

style and beauty.

JOHN WRAY ROBERT WARWICK
GEO. E. STONE

Gn Wena e Dagover is a vivid figure in the entertain-
ments of the nobility.

Gn Hlollywood @ Dagover set the cinema capital
: aflame with the brilliance of
her artistry.

. A, FIRST INASPONZAN
s = VITAPHONESEICTURE

%
The New Movie Magazine, February, 1932 3

ON SALE THE 15th OF EACH MONTH IN WOOLWORTH STORES

The New Movie ~

ONE OF THE TOWER MAGAZINES

HUGH WEIR, EDITORIAL DIRECTOR VERNE PORTER, EXECUTIVE EDITOR

VOL. V. No. 2 FEBRUARY, 1932
FEATURES
The Woman of Tears................. ae Helen Hayes is her own severest critic................++-se0-+++--+ es TED COOK 6
The Real Lowdown on Mickey Mouse... The Home-Town Story of His Creator................. DUDLEY L. McCLURE 10
Mary Pickford’s Ten Greatest Film Stars..A daring interview with America's Sweetheart........... HEYWOOD BROUN 26
The Wait Who Threatens Garbo........... The story of Barbara Stanwyck..... Gate Spee BONS a ee JIM TULLY 30
What’s All the Shooting For?... Joe E. Brown on "blessed events in the Film Colony.................. CARLISLE JONES 32
Jeanette Takes Paris!................... An American girl acclaimed by Paris..............--e0seeeeeeeess HERB HOWE 34
TG 12 Ta era ucres ene ele spree RI oa Ute i Cl An imaginary interview with James Cagney...................-..- RUSSEL CROUSE 37
Crowded Out of Stardom................ The story of an old-time Serial Queen...................e000--e GRACE CUNARD 38
Dr. Ted Cook—Heart Specialist: <2 035.0200 ob nen ae So a ee EERO OE EEE 40
Answering Mr. Dreiser... -. 6:5. c656 500005 sinc cond sd oan oe Sis ves eons aie Seg Sagi Spe SOE EE EIDE One ne cee eee ee eee 43
Homes of the Stars..................... Plans) and) pictures) of ithe) Arlensillnlomesner peer nerenrnnr etcetera 46
All Around Hollywood |... 06.) i eee a Ce rE RRaAR CORNELIUS VANDERBILT, Jr. 54
Dick ccs ase: eee ons kotaod s Gelebratingh hiss tifteenthmiyean! linipiciurcsee seer err renee Ee er rer reererer eee 60
DEPARTMENTS
Hollywood Bandwagonh 224 since Sore aie acts Re Lee eestor seaeiaw ave nenionee OE 12
Rex and Alice and Herle o.oo ccb cs aie sa cins: tia se See ese I Oe ne eee) TS ee eS Eee HERB HOWE 50
The Stars Step Out. «2.0.06 6656sess eeciee esses cess onic o walereote erent ie oe tle sie ei oto oe eee eC SS ei eG eer ee eee 52
Tabloid Reviews | 5... .).20... 6. sseesidenk tiie cele o sgn sybase ech alelaleteiee e care sie erate Sse Seare ioe eas ele eter eee ee oe ee eee 56
30-Love at Malibu ; oo o..3605 bees. cohen shaciade ne tian cls tees cami sein belied omen ee GGan eG EEE eee Eee 66
Readio Reade oni oo. ooo coe sce hile sissies sore biover9 a. 5 ole shale ls m5) evar e Sve Mey Ele eve ate ayes le STE EEE eNO Ke)r eT eee 67

And: Would You Like to Build a Spanish House? 63; Millions in a Name, 70; Beauty Goes to the Head, 72;
Sharps and Flats of the Films, 78; Joan Tells How She Keeps Slender, 80; Box-Office Critics, 100

Cover Design by Penrhyn Stanlaws

Ivan St. Johns — Western Editor

Published Monthly by TOWER MAGAZINES, Inc., Washington and South Aves., Dunellen, N. J.
Executive and Editorial Offices: 55 Fifth Avenue, New York, N. Y. 5 ; Home Office: 22 No. Franklin St., Wilkes-Barre, Pa.

OFFICERS FE TES Lato eT SCRE an, St OEMS Co ADVERTISING OFFICES
Catherine McNelis, President Cope yn Toroley Co aee bao! DDEAS EAE OUR Cone MEERETcuCOMIS 55 Fifth Avenue, New York, N. Y.
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Marie L. Featherstone, Secretary ee ey ee ne cttn mo nesRonsibality, for ‘return of 6777 Hollywood Blvd., Hollywood, Cal.

unsolicited manuscrits.

Member of the Audit Bureau of Circulations

PRINTED IN U.S. A.

OH, JIM — MY
i BACK ACHES SO
| FROM SCRUBBING
] CLOTHES TODAY. |

SIMPLY CAN’T SLEEP

NEXT WASHDAY

RSS ge SIS Pape

| SEE YOU TOOK
MY ADVICE THAT'S
A RINSO WASH.
[ CAN TELL BY
THE WHITENESS

TO THINK THAT
RINSO SAVES

| TOO
:
:
t
a
?
Fd
:

SAFE for your finest cottons
and linens—white or colors

Millions use Rinso
_ for whiter washes
in tub or machine

_ The New Movie Magazine, February, 1932

I'M SORRY, JANE
— 1 WISH You

| DIDN'T HAVE. TO
WORK SO HARD

YOU'RE RIGHT NO
OTHER SOAP EVER
GOT MY CLOTHES
SO SNOWY — AND

q
this new way 5°

4, “Clothes come

LAST NIGHT |
COULDN'T GET To
SLEEP — | WAS
SO WORN Out
FROM SCRUBBING

BUT JANE, HOW
SILLY ! USE RINSO
AND YOU'LL LAUGH
AT WASHDAY,
RINSO SAVES ALL
HARD WORK

RB words can
ae ordinary . a

+. che
p ap in t
yastest SO a
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eco mmend it

sft inso.
Makers of 40 ene s recommend ISTO

d Boo ‘
yaivable saentel Bes Ea
. rmation an

inf
Packed full ne end your, wan ambridge, Mass.
ept. :

D sizes most women buy
the large package

Millions also use it
for dishes, floors
and all cleaning

The WOMAN |

of Tears

Miss Hayes as
Madelon
Claudet

At right: Helen Hayes
and her husband,
Charles MacArthur,
and their first-born.

OMETHING tremendously important in the emo-
tional lives of countless thousands of people has
happened during the last few months—an expe-
rience they will not soon forget.

A woman is responsible—a small, modest, sincere
woman. She has deeply stirred a hard and bitter
DUbMIG ,

The woman is Helen Hayes.

Seeing her for the first time in articulate pictures,
people who appear to be incapable of compassion
are made sensitive to (Please turn to page 8)

TED COOK telephoned us: "'l've just seen Helen Hayes’

new picture. I've been crying like a baby. I've simply got

to write about her—even if | don't get a cent for doing

it. Will you print it?" Here it is—right from Mr. Cook's
heart. And we paid him for it, too!

(Below) Ronald Colman and
Miss Hayes in "Arrowsmith."

The New Movie Magazine, February, 1932

t 39 she laughs at Birthdays

You can
share the screen
stars’ secret

“Of course I am 39,’’ says
Frances Starr, famous stage
and screen star.

| “Years matter so little
nowadays if a woman knows
E to take care of her com-
a

plexion.

*“Every actress knows that reg-
ular care with Lux Toilet Soap
will do wonders for her skin, and
I am among the scores of the
profession who use it regularly.”

Countless lovely stage and
Screen stars agree with Frances
Starr!

_ g out of 10 Screen

Stars use it
Of the 613 important Holly- |
wood actresses, including all |
stars, 605 use this fragrant white
‘soap regularly to guard com-
plexion beauty.

eee meee Ycs_lam 39"
Frances Starr

eile

Soap for regular complexion [f
care. They find this luxurious *
soap, for their convenience, in
the dressing rooms of theatres
all over the country!

eran

— Lux ‘[oilet Soap tos

The New Movie Magazine, February, 1932 7

Small, modest, sincere, Helen Hayes has stirred a nation. Will she become

Hurrel

io ii

one of our greatest screen stars?

(Continued from page 6)
world pain. Hard-boiled men—call them mugs—
and their molls sit almost stunned after Helen Hayes
casts her spell. They weep unashamed—which is
healthy for their souls.

I didn’t want to see Helen Hayes in “The Sin of
Madelon Claudet.” By accident, I knew too much about
the picture—and all the worry that went into it.

Months ago I sat witl. Telen Hayes and her husband,
Charles MacArthur, in a studio projection room. We
were looking at old and obsolete Mary Pickford pictures
—unbelievably awkward in light of present-day
standards.

Helen was curious about motion pictures—and ap-
parently puzzled and very uncertain about them. And
herself. She wanted sometime to test herself in pic-
tures. But she was plainly fearful of results.

One night, months later, I had dinner with the
MacArthurs in their New York apartment: Helen
Hayes had just read the play, “Lullaby,” on which the
script of “The Sin of Madelon Claudet” is based. She
was skeptical about herself and the story. She might

do it. Her husband had to go to Hollywood to fulfill a
writing contract. She would take the baby and go to
California. But she was afraid she would not screen
well. And, after all, the story was sloppy. Picture
audiences were different—they were fascinated by
physical lure.

Finally the MacArthurs went West—and Charlie got
to work on the dialogue of ‘‘Madelon Claudet” and
then Helen Hayes was ready for her first talking
screen venture.

She worked very hard. She has an instinct for right-
ness in every scene she attempts. She is never quite
satisfied. At night she would fall asleep in her car,
going home, from sheer exhaustion.

As the picture progressed she became discouraged—
she would sit in the projection room, watching the
rushes. She would shout at herself on the screen—she

was first to see her own faults. In one scene, Madelon

was moving toward a door. “For Heaven’s sake,” cried
Helen, as she watched her own shadow, “sit down or
get out!”

Scenes were taken over and (Please turn to page 83)

The New Movie Magazine, February, 1932

THE MOST DANGEROUS SPY OF ALL TIME,
men. worshipped her like a goddess, only to be
betrayed by a kiss! ei

For her exotic love men sold their souls, be-

trayed their country, gave up their lives! Here
is one of the truly great dramas that has
come out of the war—based on the incred-
ible adventures of Mata Hari—called the
most dangerous woman who ever lived.
Who but the supreme Greta Garbo
could bring to the screen this strange,
exciting personality! Who but
Ramon Novarro could play so well
the part of the lover who is willing
to sell his honor for a kiss! See these
two great stars in a picture you will
never forget.

It was beyond the
powers of mortal
man to withstand
the lure of this .

siren.

LIONEL ! ,
BARRYMORE ~

and

LEWIS STONE
Directed by
George FITZMAURICE

A METRO-GOLDWYN-MAYER PICTURE

The New Movie Magazine, February, 1932 2

By Dudley L. McClure
of the
Portland (Ore.) Journal

HE first drawings by Walter Disney,
creator of Mickey Mouse and the Silly
Symphony, to attract attention were those
he painted with tar on the white barn door
at his farm home in Missouri. That was when
he was a little fellow. The information comes

When Mickey
Mouse speaks in
the movies it is
Walt Disney's
voice you hear.
Here they are
seen together.

Another Home Town Story of the STARS

10 The New Movie Magazine, February, 1932

on MICKEY

Mr. and Mrs. Elias Dis-
ney, parents of Walt,
and grandparents of
the famous Mickey
and Minnie Mouse.

from no less reliable source than his genial
parents, Mr. and Mrs. Elias Disney of Port-
land, Oregon, who refer to Mickey Mouse as
their mischievous grandchild.

Instead of the applause which greets Dis-
ney’s screen productions today, a scolding—a
rather mild one—was in order the day of the
tar-drawing episode. He was about ten years old then
and the grandparents-to-be of Mickey Mouse were used
to his pranks, which included drawing all over the
family furniture. They were patient, though, and en-
couraged him to develop his natural talent.

“Walt always has been a good boy,” his father says,
“and has worked hard for the success he has attained.

The New Movie Magazine, February, 1932

MOUSE

At Last the Scandal Is Out—
He Was Born ona Barn Door

We have three other sons, all
older than Walt, and a daughter,
and we are proud of them all.”

Only the daughter, Ruth,
youngest of the children, lives
with the elder Disneys in Port-
land. All the sons are neighbors
in North Hollywood. Roy, just a
few years older than Walter, is
business manager of his young
brother’s company.

“Tf Walter didn’t have
Roy with him, I don’t
know what he’d do,” the
mother said. “Walter is
so busy he has little time
to devote to business
details.”

The oldest son, Her-
bert, is a mail carrier
and the next oldest,
Raymond, is in the real
estate business.

Here is the famous crea-
tor of Mickey Mouse at
the age of five.
about this time that Walt
first began to draw.

It was

when five
years old moved with his parents to the farm in

Walter was born in Chicago and
Missouri. The family lived there five years and moved
to Kansas City, where they lived six years and returned
to Chicago. Three years later they again were in Kansas
City, In 1921 the parents and Herbert and Ruth moved

to Portland. (Please turn to page 82)

FHKSVSO OCHO OS OL ID O0LOS10O0 OVO °.000 0.8009 0S 00 OESPOP OOO 228009900000 999008
A Xs o. 2 os

Va heard so much about Jimmy Dunn and Molly
O’Day, and that Jimmy said he wouldwv’t think of
marriage until he had enough money, that our imperti-
nent curiosity was aroused. We fidgeted so about how

much he’d need, that we wired Jimmy. And this is
what he replied:
EVEN IN CALIFORNIA ONE HEARS OF RAINY DAYS
STOP BELIEVE HUNDRED THOUSAND WILL BUY
HAPPINESS INSURANCE IN CASE OF MATRIMONY
OR RAIN OR BOTH

JAMES DUNN

ND then we got all hot and
bothered about the report that
Lily Damita was about to hop off.

rere a

pocaccoocH

~ XC

Right back she snapped by telegraph:
NOT MARRIED TO ANYONE STOP I AM BACHELOR
MORE THAN EVER STOP TOODLEOO

LILY DAMITA

Ly ITH our usual inattention to other people’s busi-

ness, we got to thinking about the story that

was going around that Sidney Fox and Eddie Buzzell

were that way. Our curiosity finally got the best of us,

and we telegraphed Sidney in an impulsive moment.

This is what she wired back:

ANSWERING YOUR IN-

QUIRY REGARDING EDDIE

BUZZELL STOP THIS IS

MOST EMBARRASSING AS

ONLY TIME I EVER MET

BUZZELL WAS AT THE EM-

: BASSY CLUB HOLLYWOOD

ee ae WHEN I DANCED LESS

- j THAN HALF A DANCE

é WITH HIM STOP HE

2 PHONED ME ONCE AFTER

BUT IN SIX WEEKS HAVE

; NOT EVEN HEARD FROM

~~ HIM STOP STORIES ABOUT

MR BUZZELL AND MYSELF

ARE GOSSIP WITHOUT

FOUNDATION AND MUST

BE AS EMBARRASSING TO

HIM AS TO MYSELF

HENCE I WILL APPRE-

CIATE YOUR EFFORTS

TO BRING THEM TO AN
END

SIDNEY FOX

Lil Dagover, Germany-
bound, left Hollywood
mildly wondering. She
and her director,
Michael Curtis, ex-
changed many loud
words during the last
picture. But—and so
annoying! — always in
German. And no un-
official translators
were handy.

The New Movie Magazine, February, 1932

Dow take the case of Maureen O'Sullivan and Eddie
Quillan. We kept reading those newspaper reports
of their engagement—even their secret marriage. So
we egee in the Western Union, and this is what she
replied:

WHAT A STRANGE IDEA STOP I HAVE SEEN EDDIE
ONCE SINCE WE FINISHED THE BIG SHOT IN EARLY
SEPTEMBER STOP I ASK YOU DOES THAT SOUND
LIKE MARRIAGE STOP SORRY ANOTHER GOOD
RUMOR GONE WRONG

MAUREEN O’SULLIVAN

RetORT COURTEOUS: At a luncheon given by Louis
B. Mayer for Vice President Curtis, his sister, Mrs.
Dolly Gann, and members of the American Newspaper
Publishers’ Association, Marie Dressler and the Vice
President sat beside each other and got quite chummy.

In a brief talk Marie referred to the Vice President
as “Charley,” and he, in turn spoke of her as ‘‘Mary.”

Correcting himself quickly, however, he turned to her
and said:

“Ts it Mary or Marie?”

“Tt makes no difference, dearie,”’ said Marie, with a
pretended soulful look in her eyes, “just so you speak
to me.”

NENT GARBO RUMORS: Greta Garbo’s contract
with Metro-Goldwyn-Mayer has until next Summer
to run, and the usual crop of rumors is rife that she’s
through. That she has amassed a fortune, and that
she wants to go back to Sweden and live her life out
away from the screen. Her fortune, by the way, is
invested, with Swedish caution, in Government
bonds. Ve
NEW MoviE MAGAZINE is able to state on
the best of authority that, so far as studio

Marian Marsh, John
Barrymore's "Trilby”
knockout, is going
great guns at Warners.
Her first starring film,
"Under Eighteen,"
builds her still further,
and her next will be
from the Broadway

success, “A Church

Mouse." She's well
worth watching.

The New Movie Magazine, February, 1932

SS
y

AWN

officials know, there is no truth in such reports. Garbo
has about six months of work under her present con-
tract, and this will mean time enough to make two or
three pictures. We know that she has been particularly
happy during the production of “Mata Hari.” She has
had no difficulty with studio executives. Some persons
insinuate that these reports have been circulated as
propaganda to promote a new contract before the ex-
piration of the present one. But there seems no founda-
tion to the belief that she will quit.

»,

Ferenc

Denying he's engaged to
Mabel Ward, circus aerialist,
Tom Mix says Victoria, third
ex, is still his dream girl.

RIA IT EL TL BO OTB NES TE PELOSI IPPT SG PRP TER

LL IN A DAY: Edward Everett Horton “burned up”

recently when his press agent, in quest of new busi-

ness, sent out this bragging prospectus—‘We handle Thor
washing machines and Edward Everett Horton.”

EW YORK ROLLER-SKATING: Lilyan Tashman
and Eddie Lowe, back from their European trip,
lunching at New York’s latest and smartest club, “The
Park Avenue.” Lilyan, the last word in a Paris crea-
tion, the only lady present among four men. ... Norma
Talmadge at the same place. ... Lois Moran rehearsing
her songs and dances for the lead in George Gershwin’s
new musical, “Of Thee I Sing’”—a patriotic burlesque.
Lois plays Mrs. President. ... Joan Bennett being feted
by Sister Barbara and Brother-in-law Morton Downey
at a tea and getting all the attention. ... Barbara get-
ting ready to exit for California to be present at Sister

Lola Lane has gone bankrupt so
new-hubby Lew Ayres won't have
to pay her girlish bills. Don't you
call this

Gar-e-e, escorting his Countess,

plopped right next to Lupe

while New York night-clubbing,
bowing formally.

love?

Constance’s wedding to the Marquis. ... Mary Pickford
and Lillian Gish dining with Frances Marion between
the afternoon and night performances of “Mourning
Becomes Electra,” the new O’Neill Theater Guild opus.
Lillian bewailing the fact that she can’t find a play.
Mary a grass widow, Doug having left for Europe.
Frances Marion just back from Paris, with a brand new
divorce from George Hill, the director. .. . Ernest Tor-
rence creating a flurry in Saks Fifth Avenue, among
the shoppers and salesgirls, while waiting for his wife
to complete her purchases. . .. Basil Rathbone, back
from six weeks’ picture-making in Hollywood, signing
for a new Broadway show. . . . Lawrence Gray, very
handsome, causing feminine hearts to flutter as they
looked and listened to his songs and dances in Ed
Wynn’s musical success, “The Perfect Fool’... . Alice
White seen here and there, looking much thinner....

Who's Who—And What They're Doing

The New Movie Magazine, February, 1932

Janet Gaynor (Al Santell, her Elissa Landi,
director, at right) is in Europe
with Mama Gaynor and

Hubby Peck—her first crossing.

Joan Crawford and Doug, Jr., being photographed on
their arrival at Grand Central, with their dog, Woggle.
see Kent Douglass acting as head man in Lois Moran’s
life at the moment... . The beautiful Fay Wray making
a Success on Broadway in her husband’s musical version
of “Nikki,” while across the street Ronald Colman
makes love to her on the screen. ... Jack Oakie spend-
ing a month in New York trying to persuade Ethelyn
Terry to go West. . . . Miriam Hopkins keeping open
house for friends on her three weeks’ trip East, wedged
in between pictures because she was homesick. .. .
Pauline Frederick finishing a picture and rehearsing a
Broadway show. ... Helen Hayes taking nine curtain
calls at the opening of her new stage success, “The
Good Fairy.” ... Jackie Cooper, in “The Champ,” caus«
ing blasé Broadway to go cry-baby.

Good Samaritan, be-
stowed food and lodging on a beg-
gar youth. Whereupon he turned
and robbed her house.

be SNRATLA ARLE NO SR

SLOT OMURR ete

And now the Francis Dee or-
chid, specially cultivated by
the California Flower Club—

sponsors of the Clara Bow rose.

HAT’S YOUR VOTE?

Bebe Daniels’ friends
are about to get up a petition demanding that

Bebe cease being a blonde and return to her more

natural and becoming coloring of brunette.

LORIA ON THE GO: “I don’t believe in elopements,”

said Constance Bennett, some time ago, when asked
if she and the Marquis Hank were planning to fly to
Yuma to be married.

Which turned out to be something of the cat’s meow,
for just at that moment Gloria and her Paris playboy
(though he’s Irish), Michael Farmer, were eloping to
Yuma, to get married again.

Gloria’s secret marriage to Farmer last August at
Dudley Field Malone’s home in New York state has
caused her all sorts of grief—real or fancied.

For weeks she and Farmer hopped about Southern

Inside Chatter Off and On the Set

The New Movie Magazine, February, 1932

————

Douglas Fairbanks,
Norma Shearer and
Bob Montgomery—
as you were, as it

were.

Russell Gleason and
Mama and Papa
Jimmy Gleason in a
homey family scene.

California, trying to elude the horde of interviewers
they fancied were pursuing them.

@e the Sunday following their second wedding cere-
mony it was necessary for Gloria to appear at
United Artists’ studio for some retakes.

She slipped away from her home by way of the rear
entrance in her cook’s Ford. At the studio a gate
wich hasn’t been used for years was opened to admit

er.

When the retakes had been made she went to Mervyn
Leroy’s house for tea and slipped in by way of the
servants’ entrance. The rushes disclosed that another
scene was needed so she returned to the studio at
midnight.

One almost expected her to appear with a beard.

Helen Chandler (below) sign-
ing up in Lew Cody's "quest-
book''"—among the hundreds
of celebrities listed there.

Three different sets of lawyers have been working on

the legal aspects of the case—the eminent Mr. Malone,
Milton M. Cohen, who secured her divorce from the
Marquis de la Falaise, and Lloyd Wright, who handles
her other business.

LORIA and Michael were married in Paris—in the
East—and in Arizona. So Gloria must mean it this
time. She’s never gone to all that trouble before. Also,
she has never married a man of the same nationality
twice. Take a day off and figure it out for yourself.

And now they’re headed for Paris again.

When Gloria’s new picture, “Tonight or Never,” was
previewed in Hollywood, the press and fans alike were
startled to see Gloria, who plays the role of an opera
singer, looking (figuratively speaking) for all the

The Marriages of Connie and Gloria

The New Movie Magazine, February, 1932

Jimmy ("An' | ups to him")
Durante, also known as
"Schnozzle,'' shown below, the
latest wow of Hollywood.

world like the type she was portraying. Can it be that
the calorie menu has been discarded in the Swanson
ménage, or is the story which Gloria gave the press
about wanting a son whom she will call Michael, to be
realized?

OLD FACE: A certain Hollywood wisecracker is said

to have sent the following telegram to Gloria Swan-
son while she was on her honeymoon: “Dear Gloria.
ane presidente wishes me to thank you for the Farmer
relief.”

WEET AND LOW: “T can play anything from pris-
sies to palookas,” said Charles Burtis, when some
one asked him what parts he does in Hollywood.

Robert Coogan,
brother of Jackie, in
an off-stage moment.

Jackie Cooper goes
in seriously for dogs
since his training in

"Skippy."

EBE AND BILLIE AND JIM:

Bebe Daniels and Billie Dove are in a new kind
of a Hollywood triangle. This time they have gone into
the cosmetic business with “Hollywood Jim.”

“Jim’s’’ famous beauty parlor, on the boulevard, will
be given a $250,000 enlargement which will include
manufacturing and distributing departments. Bebe
and Billie are financially interested.

OTHING MORE—WHAT? Jacqueline Logan is
writing, acting and directing pictures in London
for a British firm—and a large salary.

LARA WEIGHS IN: Clara Bow, full of fight and
weighing just 119, a pound heavier than when she
was at her lightest, will begin (Please turn to page 74)

Garbo, Happy, Plans to Remain Here

The New Movie Magazine, February, 1932

«: DUNN
a EILERS

Just a pair of dance hall hoofers,

taking the tough breaks with a smile,
crashing at last the bright gate of
Broadway fame. Falling in and out

of love, in and out of work, gliding to
success in each other’s arms. Stars of
“Bad Girl” in the season’s smartest romance!

Two step from the chorus
into society —from sou-
brettes to lorgnettes. One
keeps right on carrying a
spear, and her skirts are clean
because she doesn’t wear any.
What happens when she walks
into their high-hat garden party
and spills the society beans
makes the merriest scandal of the
year...You will laugh for a week!

LOUISE MINNA
DRESSER GOMBELL
JOBYNA WILLIAM

HOWLAND - COLLIER, Sr.
Both Fe@xX Pictures

18 The New Movie Magazine, February, 1932

Photograph by Ferene

LILLIAN BOND

The
° New Movie @
Magazine

Gallery of Famous Film Folk

The New Movie Magazine, February, 1932

UNA MERKEL

hotograph by Hurrell

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The New Movie Magazine, February, 1932

Photograph hy Richee

JOEL McCREA

The New Movie Magazine, February, 1932

Photograph by Ferenc

DOROTHY MACKAILL

The New Movie Magazine, February, 1932

"Poa: eachahieeee-anaainieeedasean

Photograph by Richee

KAY FRANCIS

The New Movie Magazine, February, 1932

RICHARD DIX

Mary Pickford’s Ten

Her

Honor Roll

lived through two slumps. When everybody says they’re
finished and they come back twice—then they’re stars.”
This was Mary Pickford’s fundamental requirement for a
place on the all-American film roll of honor which she chose.
It seems to me an excellent requirement, and one which might
well be extended to the identification of leaders in other arts and Why—In Her
professions.
Certainly, it must be true that the novelist or the playwright
who is always successful lacks something of courage and imagina-
tion. Anybody who never fails is pretty apt to be a person who has

se DON’T think a star is really a star until he or she has.
and the Reasons

e
never really taken a chance. Most Daring
And here are the stars of the screen as Mary Pickford sees them:
Charlie Chaplin Bill Hart John Gilbert
Douglas Fairbanks Marguerite Clark Alla Nazimova E
Greta Garbo Gloria Swanson Also:
Rudolph Valentino Harold Lloyd Mickey Mouse Interview

Now I shall continue with the stenographic notes of our chat. Nothing
could be as effective:

Miss PickFrorD: If this list is to indicate mere acting ability, I should say
that Lloyd, for instance, is a marvelous producer. But as an actor I don’t think
he is in a class with Valentino or Chaplin. Mickey Mouse is one of the greatest
box-office stars the world has ever known. Jannings should go in there. And
at one time Marguerite Clark was a tremendous favorite with the children. She
gave me many uncomfortable hours and she was held over. my head, too, by
Mr. Zukor to keep me in line. Of course, I don’t think Hart was an actor.

26 The New Movie Magazine, February, 1932

Greatest Film STARS

ie seemed to me that Bill Hart was dealt with a little harshly
by Miss Pickford, even though he made the team. For it is my
impression that though he always played the same role he—and
this is your correspondent commenting now—always played it well.
I am not among those who feel that versatility is essential in
an actor or any other artist, for that matter. I remember it was
the Famous held against John Barrymore in his stage days that whether the
play was Richard III or Hamlet, the personality projected before
the audience was invariably John Barrymore. Yet that is not an

essential fault. Not if you like Barrymore.
C iti nd Hamlet, for instance, can be ever so many men. There isn’t one
riric G@ particular standardized interpretation, thank Heaven. And for me
an interesting performance was provided even though I did see Hamlet

in terms of John Barrymore rather than the other way around.
One difficulty lingered in Miss Pickford’s mind. She felt that in naming
Author y the great of the screen some distinction might be necessary between those
actors who are established as great box-office attractions and those who have
manifested distinctly artistic proficiency. But on the screen, at least, the
gap is not as wide as in the theater.

For instance, when I asked Mary Pickford to name me a few people who
seemed to her highly talented and comparatively unsuccessful she could bring

to mind only one name.

Heywood

Broun —

(a was my notion that I must be armed with all sorts of notes in order to carry
on a discussion with the first lady of the pictures. I consulted friends and
jotted down the names of various players who appealed to them. But as it turned

The New Movie Magazine, February, 1932 27

out, I didn’t have to talk
very much or offer any
opinions to speak of. Mary
Pickford knows her own
mind concerning the art in
which she functions. And
she is both eloquent and
articulate in expressing her
point of view. Only by
great effort could I get a
word or so in edgewise.
Remember, this is not a
complaint, but a confession.

After all, an interview
really should concern the
person who is being inter-
rogated. The interviewer
ought by every rule to be
only a still, small voice
casting out an occasional
hint.

So we will return imme-
diately to the testimony of
the chief witness and let
her comment on box-office
attractions and the art of
acting. I asked her about
Nazimova.

Miss PICKFORD: She, I
think, falls into the cate-
gory of an interesting per-
former. ... You see, there
are two groups. There are
the outstanding: artists like
Garbo. Out of the indus-
try, including Jannings
and excluding myself, there

Douglas Fairbanks—tell-
ing Miss Pickford and Mr.
Broun they're ordered to
include him. in the list.

NAZIMOVA

CHAPLIN

are five great personalities—Chaplin, Fairbanks, Garbo,
Jannings and Valentino. ... I don’t think Lloyd or
Bill Hart are artists.

To me the supreme artist is Chaplin.

Harold Lloyd’s box-office appeal is his presentation
of himself. He is a very clever producer. Someone
else could probably do the same thing. Buster Keaton,
for instance. Give him the gags and routine and he
would be a serious competitor of Chaplin’s. He has that
peculiar pathetic quality, together with his artistry and
knowledge of the theater and pictures, which Lloyd has
always seemed to lack. :

Keaton hasn’t got the business ability and organiza-
tion. Harold is an organizer. He can sit around a
table with eight or ten men and pick and choose the best
gags. -He knows when and where it is wrong and has
the courage to go back, throw it out and do it over again.

R. BROUN: Now, about some of the people who

haven’t stood this test about not being supreme
since they have not gone through a couple of slumps.
How about Ruth Chatterton?

Miss PICKFORD: I haven’t really considered them.
Joan Crawford, for instance, is an enormous box-office
attraction and shows great promise. I think this is also
true of Ruth Chatterton and Norma Shearer.

Mr. BROUN: Why is it more peculiarly true of the
pictures than the stage that a person may be effective
and then fade out of sight?

Miss PICKFORD: They have failed in getting proper
vehicles. Furthermore, they may have miscast the di-
rector. Good directors are rare. They may be just as
badly miseast as an actor. For instance, Louis Mile-
stone makes “Front Page’ a success. Yet he may make
the most stupid picture. There are women and men
directors. I mean, some are good for men, and others
for women. lLubitsch is a man’s director. That’s
why he and Jannings get along so beautifully. Griffith
was always a woman’s director. He never developed a
man. Well, Barthelmess was one exception and he
didn’t stay with him. Also Bobby Harron. But I am
speaking of the great stars. (Please turn to page 84)

SWANSON FAIRBANKS

The New Movie Magazine, February, 1932

the SHOOTING for?”

Ann Harding and husband, Harry
Bannister, in a family scene with Jane
Harding Bannister.

season on Hollywood babies for more
than three years.

“They’re predicting a moratorium
on children in Europe until the de.
pression ends,” Brown explains.
“That’s our chance to show the world
that Hollywood carries on; that we’re
not discouraged nor downhearted.
We should be awake to our oppor-
tunities.”

“A one-baby family is just no fam-
ily at all,” explains the comedian.
“An only child hasn’t half a chance.
By the time he has grown big enough
to throw bricks through green houses
you've forgotten how sweet he was the first
time he said ‘Da-da’ and pointed to a St.
Bernard dog.

“Almost the first person I met when I
came back to the Warner Brothers’ lot after
that tour East,” Joe confided, “was Ben
Lyon. His chest was out so far it impeded
traffic. Right away he started to tell me—
me, mind you—that he had the finest baby
ever.

“ ‘Ben,’ I says, ‘after you’ve had a quar-
ter dozen of ’em you’ll be worth listening to.
Now, Mary Elizabeth Ann has just begun
toss”, ” Z

Mary Hay Barthelmess, daughter of
Richard Barthelmess.

But by that time Ben was telling some
one else, who would listen to the father of
one baby brag.

“T think John Barrymore and Dolores
Costello made a serious mistake in naming
their yacht,” Brown adds. “It should have
been ‘Infantae’ not just ‘Infanta.’ What’s
the use of limiting yourself that way?”

As Joe E. Brown will tell you on the
slightest pretext, he has three children—_two
boys, Don and Joe E., Jr., and a baby girl,
born in August, 1930, and named Mary
Elizabeth Ann. The boys are fifteen and
thirteen and are enrolled in military school.
The baby is enrolled in filmdom’s records
as the most adored infant in the colony.

And here are Eddie Cantor and wife, with four of the Cantor

“You can’t appreciate them when you’ve girls. Eddie looks quite happy and proud.
only had one,” he concluded.

33
The New Movie Magazine, February, 1932

Jeanette

Takes Paris!

PARIS, FRANCE

T seemed appropriate that I should be seated on

the edge of a bathtub sipping a champagne cock-

tail while learning about Jeanette. Since “The

Love Parade” la belle Mac has been associated

inveterately with baths and bubbles. The picture that

fine old artist Herr Lubitsch presented of her emerg-

ing from the suds is as memorable, at least to my mind,

as Botticelli’s Venus arising from the waves. I love
art.

On this occasion the tub is regrettably vacant. This
is Paris, not Paramount. Specifically it is the salle de
bain of Jeanette’s royal apartment in the royal George
V. To call it a bathroom would be lése majesté. Of
mirror and marble it is a room in which Nero and
de Mille would have delighted to take cocktails along
with the present distinguished occupants, Messrs.
Ritchie and Howe. Jeanette’s managing fiancé and I
had been forced to evacuate the other rooms step by

step before the surging crowds that came to pay
homage to Jeanette or sell her something, after the
matinée. Wily diplomat, Jeanette insisted on receiv-
ing each caller alone. There weren’t enough rooms +o
go around, hence Ritchie and Howe were taking a last
stand, glasses in hand, before being driven on to the
fire-escape and thence to the limbs of the horse chest-
nut trees. It is always thus with an actress. The best
friends are always having to clear out. But we didn’t
blame Jeanette. She had just won a battle against
three nations and she was taking no chances in offend-
ing anyone. Clad in an Irish green gown designed by
Jenny Dolly, which I did not think nearly as becoming
as the porcelain in which Herr Lubitsch wrapped her,
she trailed from room to room (omitting the bath)
being nice to everyone—French interviewers, Ameri-
can interviewers, couturiers, jewelers, girl scouts, war
veterans, fallen archdukes and the league of nations.
Jeanette had started to tell me her past, but with the

The New Movie Magazine, February, 1932

Mr. Howe, our ambassador
abroad, gives you the romantic
story of how an American girl
won out, singlehanded, over-
night, with a nation arrayed
against her.

diplomatic exigencies she had turned it over to Bob,
who meant well but didn’t know much. Why should a
fiancé anyhow?

es I gathered: Jeanette was born poor but
beautiful in Philadelphia. At the age of twelve she
was in New York dancing in the ballets of the Capitol
Theater. In the morning she attended school. At
fourteen she was in the chorus of “The Night Boat,’
where she became friends with two girls who are now
Mrs. Sydney Kent and Mrs. Robert Kane. After her
third month she was understudying the prima donna.
Hard-working, ambitious, single-minded, she studied
voice intensively. When she arrived in Hollywood for
her first picture she had been a musical comedy star
some twelve years, and the first question the producers
asked her was: “Have you had any stage experience?”

“And I had thought I was famous!” gasped Jeanette.
“Now I realize that on the stage you are just a little
local rumor. Only the screen can make a world
ripple.”

It only took one picture to ripple Jeanette to French
Here are three portrait studies of the beautiful whirlwind Shores. The French acclaimed her more than we did.
Jeanette MacDonald who the Paris newspapers declare The French know their art and their wimmin.

me ° - ° ° In Paris, in person, Jeanette achieved her crescendo.
is the greatest American sensation since Lindbergh. (ater hel icrss Jequctte?)

If she had flown over in her bathtub she couldn’t
have gone bigger. (Please turn to page 106)

The New Movie Magazine, February, 1932 35

Photograph by Shalatt

NANCY CARROLL

The New Movie Magazine, February, 1932

| BANG!

Jimmy Cagney Gives a

Short and Snappy Inter-

view to Our Own War
Correspondent

BY
WHAT REMAINS OF

RUSSEL CROUSE

through the narrow crack.
“I want to see Jimmy Cagney,” I said.
“Scram, bum,” they said in chorus and
tried to close the door. I was too quick for them,
however, and slipped my nose into the crack.

“ve got a permit from ‘Baby Killer’ McGurk,”
I said through my nose and the crack.

The door opened and I walked in. I was greeted
by a rain of machine-gun bullets. I dropped to
the floor.

“He’s all right,” explained the head blonde to
several young men who were doing the firing.
“He’s from ‘Baby Killer’ McGurk.”

“OQ. K., kid,” said one of the young men. ‘We
just wanted to see whether he could take it.”

I got up and bound up a couple of wounds with
my handkerchief.

“He’s in here,” said the head blonde and led the
way. We entered a bedroom. The bang with
which the door closed wakened a figure lying on
the bed in purple-and-orange pajamas. A hand
reached under the pillow, came out with a gat and
three shots rang out. I noticed that my left ear

was missing, but I didn’t
u have time to look for it—tfor
Ger out a I was face to face with
Jimmy Cagney.

[Te door opened and fourteen blondes peered

here," said Jim-
my Cagney. "'l
‘don't like your oie get your breakfast for
face. you,” said the blonde.
“T thought this guy was my
breakfast,” said Jimmy.

“No,” I said, laughing. The blonde left us. I
was sorry to see her go. “I’ve come to interview
you,” I went on.

He got out of bed and looked me over. “I don’t
like your face,” he said finally.

“You’ve done your best to change it,’ I said,
rubbing the place where my ear had been.

He came toward me.

“Yeah?” he said. “Well, I’m going to fix it up
good for you.” He took my nose between his
thumb and forefinger. “I’m going to take this
and put it back here.” (Please turn to page 112)

Photograph by Irving Lippman

The New Movie Magazine, February, 1932 37

| was the
serial queen—
Grace Cun-
ard, in “The

Broken Coin."

Grace Cunard

(Queen of the Serials)

PRETTY little thovie star with cute long lashes
and three thousand dollars every week rode up
to the railroad station in a closed car. It was
snowing. The star had been brought all the way

from Hollywood to the Nevada border town for only
one scene in the storm. And it was a short scene. She
must step out of her foreign-looking car, wrap her
sables close and run into the falling flakes in desperate
but futile pursuit of a disappearing train that carried
away her misunderstanding sweetheart.

While director and camera waited for the passing
of a real train the little star looked out into the snow
and wrinkled her patrician forehead to a mighty frown.

“Tt is ridiculous that you should ask me to do such
a scene,” the star complained. ‘My feet will be soaked.
I will have a bad cold.”

The director was sympathetic, but helpless. “It is an
important incident, Miss It can’t be omitted.”

The star settled back in her cushions and her tem-
peramental lips were firm. “You must send for my
double!”

So they sent back to Hollywood for the little star’s
double and waited until another storm came along at
the right time to be there when the limited
whirled by. :

That happened only the other day—the first of this
Winter’s snows.

An old picture of Francis Ford, Grace Cunard and "Uncle" Carl
Laemmle, taken when the public demand for serials was at its height.

The New Movie Magazine, February, 1932

ut of Stardom

(es turn back the years and visit
almost the same spot with a serial
queen, the same serial queen of whose
tragic secret I shall tell you so much
later on.

As when the little modern star sent
for her double, it was snowing, this
earlier time. It had been snowing
this time, however, for days on days.
Mammoth plows driven by mountain-
climbing engines had cleared the rail-
road tracks, piling the snow at either
side into ridges many feet deep.

Word came down to Hollywood—I
should say Universal City, instead—of
that blinding storm and the white
ridge flanking the tracks. “Ah!” said
the Universal City powers, “we must
have a snow episode in the new serial,
‘The Broken Coin.’ ”

Late the next day the serial queen,
whose dangerous predicaments were
daily heralded on a million flaming
billboards around the world, and her
company arrived at the border town
and stood in awed contemplation be-
fore those mighty white banks. While
they stood there, a little way down
from the station platform, the queen,
her director, her cameraman and her
company of actors and actresses—
stood in the flaky fall with never a

When I mar-
ried Joe
Moore, seven
thousand let-
ters of con-
gratulation
came to me.

The New Movie Magazine, February, 1932

"| want to come
back, and they
wont let me,”
. says the beauti-

| j ful girl whose
, heroic esca-

pades in the old

serials made

her the favorite
of millions

thought of feet that were soaked, the
limited whizzed by.

“V’ve the whole idea,” said the
queen. “Tomorrow I'll go up the line
to where the limited stops and Mu

But IT’ll tell you what the serial
queen, who was best known of all se-
rial queens, did “tomorrow.”

When the limited stopped at the
larger town a few miles up the line,
she ran out of a field, through the
storm, to board the train. Her hair
was flying, her thin waist was torn,
showing her bare, storm-flecked
throat. When she reached the train,
just in time to cling to the vestibule
rail of the observation car, she was
wet to the skin and her dress was
rapidly freezing. She hung onto the
vestibule rail, the train speeding off,
until a porter helped her aboard while
the conductor scolded her ferociously.

At the next stop she got off and re-
turned to the border town. A coach
and an engine had been hired for the
rest of the scene. They represented
the real limited. The hired train sped
past the deep snowbanks. The serial
queen, in the same thin, torn frock,
hair still flying, rode through the
storm on the coach roof until the en-
gine came (Please turn to page 117)

Loretta Young and Mervyn Leroy—
Friendly, but Ginger Rogers is hotter.

Wide World

“Ona Munson and Ernst Lubitsch—
Still holding hands.

Douglas Fairbanks, Jr., and Joan
Crawford—Doing nicely, thanks.

OLLYWOOD is finally suffering from economy
jitters. Dozens of top-notch writers, accustomed

to scrimping along on $1500 a week, have been cut to
$750.

CHAMPAGNE

Lupe Velez and John Gilbert—

Screaming at each other.

What’s worse, some of them hereafter will not be
paid at all when they are not working.

There is talk of cake lines before the winter is
over—or a public champagne kitchen, where the
jobless picture people can stand with tin cups.

* * *

But there is no truth in the report that the Salva-
tion Army will distribute hors d’oeuvres among the
starving song writers.

AILING Wall Street wants Hollywood to hurry

back with millions and millions of dollars—
millions eagerly loaned to build cinema cathedrals
and make pictures. Wall Street sends out pinchpenny
snoopers to tell film executives how to economize.
The situation is so tense that a film executive is
almost afraid to keep his grandmother on the pay-
roll!

The New Movie Magazine, February, 1932

Fen een em

Heart Sp ae /

Billie Doye—Out and in
again with Howard
Hughes.

Howard Hughes—Likewise
out and in again with Billie
Dove.

“The bankers,” said Will Rogers at the recent tes-
timonial dinner for friendly Banker Giannini, “have
had a great influence on the film business. In fact,
when Wall Street came in, audiences went out.”

* * *

Rogers took War Secretary Hurley to Fox Studios.
They were watching a director who weighs less than
one hundred pounds. “Since the depression,” drawled
Rogers, “the Fox company is cutting down on the
size of directors.”

* * *
And Bert Hanlon says Fox is bringing out the
’ Singer Midgets to wait on table in the studio res-
taurant . . . “So the portions will look larger.”

EAN HARLOW (who wears the lowest cut gowns
ever seen on land or sea) owes her career to a
bit of luck—a film magnate observed her sitting at

The New Movie Magazine; February, 1932.

aN blooms and withers faster in semi-
tropical Hollywood than anywhere else in the
world. Beautiful women and emotional men love
and quarrel all day in the hot glow of the Kleig
lights. After the day's work is done, these tired
toilers spend their spare time much the same as
the rest of the human race—they love and quar-
rel. Then they have to get up in the morning
and go to the studio where they must—love and
quarrel. They are devoted to their work.

It is difficult to keep tab on all the heart trouble
in Hollywood. However, the following tempera-
ture chart may be helpful for those of us who in-
sist on being interested in things that are none of
our business: :

Lothar Mendez and Lady Inverclyde—Ready
for the legalities.

Lily Damita and Sidney Smith—Ardent.

Lowell Sherman and Helene Costello—On the
rocks.

Judith Wood and Herman Brix (shot-putting
champ) —Going places together.

Mae Clarke and John McCormick—Lunching.

Frances Marion and George Hill—He got the
divorce.

a soda fountain in Kansas City. He told her to get
to Hollywood as fast as her legs would carry her .
and her legs will carry her far.
* * *

Jean was married when she was sixteen (Charles
Freemont McGraw). Divorced a year ago.
(Please turn to page 110)
aN:

JEAN
HARLOW

Miss Harlow is shown
here in a pensive
mood, very different
from the fiery réles
she has had in pic-
tures. Jean first came
into prominence for
her part in the How-
ard Hughes’ picture,
"Hell's Angels," and
won further laurels in
"Platinum Blonde."
Recently she has been
making personal ap-
pearances throughout
the country.

William A. Fraker

ae ‘The New Movie Magazine, February, 1932

RITING in last month's
NEW MOVIE MAGA-
ZINE, Theodore Dreiser, the
famous novelist, picked as his
topic, "The Six Worst Pictures
of the Year."
Commenting upon films and
filmfolk, Mr. Dreiser said:
"Hollywood's head is as
empty as its purse is full.
"The movies are so silly |
find it almost impossible to
discuss them seriously.
". «| hold this whole trashy
Hollywood business to be a
menace."

i oo .

WES editors of this magazine
telegraphed a number of
famous persons, asking them
for their opinions, and if they
felt that the motion picture
producers were living up to their
responsibilities to the public as
well as it was humanly possible.
Herewith are the replies.

OF FR OP a eee

|
te
t
/

GEORGE ARLISS

Answering
Mr. Dreiser

; The Great and Near Great Tell
~ What They Think of the Films

Mr. Arliss Comments
Los Angeles, California.

DO not think “this whole trashy Hollywood business’ is really
a menace to the community any more than toy pistols or
cheap silk stockings have proved a menace.

The fact is that the talkies are not intended for people -of :
Mr. Dreiser’s mental stature. If the highbrows will insist upon “od
going to the talkies, that is not the poor producer’s fault. Bere

The defunct silent picture was a primitive entertainment, but Los Angeles, Cal.; Dreiser may be

_ one which attracted a huge audience. The talkie, now in its right. I'll inquire—Marie Dressler.

_ infancy, is largely dependent on that same audience for its

existence.

5 It seems to me that the producers are fairly shrewd in not

_ frightening away this audience by too sudden a departure from
_ the old order.

____As I am responsible for certain pictures that have come out
of Hollywood, it is inevitable that I should disagree with Mr.

Dreiser. I feel bound to give it as my opinion that the quality

of entertainment is steadily improving, even
if we must admit, slowly.

I have observed that the people who have
been to Hollywood and rail against it are
usually those who have met reverses there, or
opposition deserved or undeserved.

The New Movie Magazine, February, 1932

| I gather that Mr. Dreiser’s experience
. of Hollywood is at any rate not very
| recent. He says, ‘‘The Hollywood head
is as empty as its purse is full.” This
at the present moment is a compliment,
| oven I am sure he doesn’t mean it as
such.

GEORGE ARLISS.
From Governor Ritchie

Baltimore, Maryland.
I AM sorry that I cannot give you a
definite opinion on your inquiry be-
cause I do not happen to possess the first-
hand acquaintance with the movies which
would be necessary. In fact, it is ex-
tremely rarely that I am able to attend
the movies and I have no knowledge at
all of conditions at Hollywood. All I can
say is that the few movie productions
which I have attended have all been im-
| portant pictures, such, for example, as
} “All Quiet on the Western Front,” and
I consider that in these the producers
did measure up to their responsibilities
| to the public.

ALBERT C. RITCHIE,
Governor of Maryland.

Silas Strawn Disagrees

Chicago, Illinois.

I DO not agree with Theodore Dreiser
in his general criticism of Hollywood

and the moving-picture industry. It

seems obvious that movie producers

must constantly observe the reaction of

the public to their productions. That

"Mr. Dreiser's dislike

is hardly news," says
Rupert Hughes.

"Why does Mr. Dreiser discuss pictures at all, if he
can't discuss them seriously?" asks Ruth Chatterton.

they have done so is indicated by the vast industry
which movie producers have built up.
SILAS H. STRAWN, -
Famous Chicago Attorney, former Ambassador to
China and President of the American Bar Asso-
ciation.

Not News

Los Angeles, California.

I CAN only reply that Mr. Dreiser’s dislike of the
movies is hardly news. As for your second ques-

tion, I ean only say that if the movie pictures lived up

to their responsibilities as well as they humanly could

they would be the only human beings in the world to

do that thing.

Acme

RUPERT HUGHES.

Miss Chatterton’s Opinion

Los Angeles, California.

N replying to Mr. Dreiser as far as I can,

item by item, I would say, first, that
the majority of successful pictures have
been those with little or no luxurious back-
ground, such as “Skippy,” “The Champ,”
“Street Scene,” “Waterloo Bridge,” ‘Min
and Bill,’ “The Millionaire” (in spite of
its title), “The (Please turn to page 102)

44 The New Movie Magazine, February, 1932

ens

—_

Be ee

Mag)

Photograph by Emmet Schrenbaum

| POLA NEGRI
ictures has been awaited with interest by her fans.

J The exotic Polish film star, Pola Negri, whose return to
new vehicle, "A Woman Gonimands." you hear her voice for the first time.

In her

The New Movie Magazine, February, 1932 45

The ARLENS
_and Comfort

DINING ROOM
DEN

MAID’S ROOM
GUEST HOUSE

- LIVING ROOM |
KITCHEN

- BED ROOM
- BATH ROOM

At upper corner, Dick's den, and
directly above master bedroom

the home of Richard and

Jobyna Arlen.

iled roof, white plaster walls and green

ight corner.

is at the r

g t
fireplace

~The outdoor

The awnings are henna.

Entrance to the Arlen home, showin

shutters. -

The New Movie Magazine, February, 1932

- Another
_ Visit to the

Dick and Jobyna seek sim-
plicity and restfulness in
their Hollywood love-nest

HOMES
of the
STARS

The New Movie Magazine, February, 1932

IVE years ago, when Richard Arlen and his wife,

Jobyna Ralston, decided that it was high time to

go into the business of home-building, they were

blessed with the complete knowledge of just what
they did and did not want.

Among the things they wanted was a small home, a
home where life could be lived graciously and restfully,
a home that friends would find comfortable, harmonious
and simple.

Among the things they did not want was a large
house, cluttered with guest-rooms, ballrooms, playrooms
and reception rooms—a house of formality and uncom-
promising period effects.

The final decision was an early California-type house,
with rambling floor plan and spacious grounds.

The location of Beverly Hills and Hollywood was
vetoed as too crowded and civilized. No sidewalks,
traffic signals or car-lines for the Arlens. They pio-
neered into a beautiful little settlement seven miles
north of Hollywood called Toluca Lake Park. The set-
ting was ideal. Purple mountain ranges surround the
valley and walnut groves shade the entire countryside.

N the midst of two acres of richly bearing

walnut trees, the Arlen home was built.
Truckloads of cement and red tile became,
through some miracle, restful patios, inviting
fireplaces, shady loggias and spacious rooms.

When the house was finished, still another
miracle occurred. Behind the wrought-iron
fence that surrounds the two acres, a turbu-
lent mass of flowers soon was blooming.
Shrubs bearing exotic tropical flowers bor-
dered the walks. Several tiny pools displayed
water lilies and many prosperous-appearing
goldfish.

The Arlens say, however, that their home
has never been completed, and they doubt if
it will ever reach that state.

A patio is added one year, a guest wing the
next. A swimming pool is to be dug at
any moment, and next
summer a second story is
to be built over the right
wing of the house.

At the present writing,
the house comprises eight
rooms and three baths.
Comfort is the supreme
gesture through the entire

The living-room (below)
done in dull green and
henna, walls of buff plas-
ter, carpets of dusty
green. The drapes are in
henna, the foreground
chair in green.

The provincial kitchen has yellow plastered walls,
yellow and green woodwork, and the floor is of
dark red tile. Tiling on the sink is dark red. Chairs

yellow and green.

dwelling. The enormous living-room is dominated by
a large fireplace and a rough-hewn beamed ceiling. The
floor is carpeted in dull green. Before the fireplace is a
white fur rug that lends warmth and informality to the
room. The drapes are of provincial woven material in
shades of henna and green. Five large lamps, all with
fluted shades, are placed near chairs and divans, creat-
ing inviting places to read.

A large divan of henna and gold tapestry at one end
of the room is balanced by a tremendous chair and otto-
man of bright orange fabric. Other chairs in the room
are of dull greens and hennas in brocades and fabric
materials. Book-filled shelves, a large altar cover and
an antique mirror make the walls interesting.

pee dining-room, which is almost a part of the
living-room, separated as it is by a few steps and a
wrought-iron railing, is done in the typical Spanish
provincial manner. Drapes and chairs use henna and
blue woven fabric.

The master bedroom is furnished more as a living-
room than a chamber of rest. Only the enormous bed
of green brocade and walnut designates the room as
the master chamber. Two chaise longues and three
large chairs with accompanying ottomans drawn about

the fireplace fairly exude rich comfort. An interesting
shade of dull green dominates the color scheme of the
room.

A bath-dressing room, one that is unique in the film
colony, connects with the master bedroom. On one side
of the room is a glassed-in stall shower and a tile-
decorated tub. The other side of the room is devoted to
two built-in dressing tables.

The red-tiled floor is covered with a gayly colore
goat-hair rug, and the curtains repeat the brilliant
tones of the floor covering.

The Arlens did not forget a den for Dick. Every
well-planned house should include one room dedicated
to the sacred privacy of the head of the household, they
say. :

Dick furnished this room with furniture of his own
choosing. A Monterey divan, chair, bookcase and desk
in antique yellow are contrasted with upholstering of
green and henna and drapes of blocked linen.

One of the favorite spots in the house is a patio just
off the living-room. It includes a large fireplace which
provides a roaring fire to eliminate the night chill.
It is here, even during the winter months, that the
Arlens serve Sunday buffet suppers to their friends.
It is here, in the star-checkered California nights, that
the Arlens, Jobyna and Dick, sit before the fire plan-
ning further beauties and comforts for the home they
love so well.

Combination dressing-room and bathroom in the
Arlen home. Buff walls, black, henna and green
wall tiling, red floor tiling, and tables of antique
green. Curtains are green dotted Swiss.

The New Movie Magazine, February, 1932

; Here are the newly-weds, Clara Bow and Rex Bell. They became Mr. and Mrs. George F. Belham at a late evening

ceremony performed at Las Vegas, Nevada, in December. After the honeymoon Clara will finish a feature talkie for
Columbia Pictures. At last reports Rex was still denying the marriage.

The New Movie Magazine, February, 1932 49

Rex Ingram's "Baroud" is the first talkie to be made on the Riviera.

REX and ALICE

Our Hollywood Boulevardier abroad
stumbles cheerily into topsy-turvyland

Nice, France.

Drawings bys Chamberlain AST month I boasted from this soap-box that I
7 y had put Rex Ingram and Alice Terry back to
work, thus accomplishing more than the League

of Nations has seemed capable of.

Since “Mare Nostrum,” four years ago, Rex and Alice
have done nothing but rest on their laurels, as we say
in polite society, planting same on the beach of Juan-
les-Pins by day and in Maxim’s and Le Perroquet by
night.

When I wired Madame Ingram from Paris that my
mission abroad was to take them back to Hollywood, she

replied frightenedly that they
were going to work in Nice and
When a sailor if I didn’t believe it I could
grabbed a cocotte by come down and see.
the neck, | waited for I didn’t, and I’m seeing. It
some one to yell Re I suspected. Alice is ius
" " ; sitting. rue, they’re making
Roun a and Eadie a picture—but what a turvy- |
CMC an ictor tonsiness. Rex is acting and
McLaglen to walk in. Alice is directing. What makes
it seem turvier-topsier is that
Rex recently became a Moham-
medan—and I always supposed the advantage of being
a Mohammedan was that hubby did the bossing.

But you should hear the things Director Alice says
to her spouse. . . . Apparently with an Irishman the
Mohammedan religion doesn’t take.

Instead of Rex’s having the harem, Alice has a For-
eign Legion consisting of a Spaniard, Arab, South
American, Russian, Frenchman, Hollywoodman (moz)
and Irishman (Mussulman Ingram), who take turns

The New Movie Magazine, February, 1932

—

/
weer ; s aus Ly aie
ago b y

So a aint Pree ee

It rivals California's Gold Coast as a picture spot—in climate, at any rate.

and ERB Herb be in Person

dancing with her each evening at Le Perroquet. name was as common with Spaniards almost as Jones

When not dancing we are required to take turns with us. His real objection (Please turn to page 102)
holding Ignatz, the poodle. Next month I shall tell
you more of Alice and her Foreign Legion in a story
entitled, ALICE DIRECTS MOHAMMEDAN HUS-
BAND ... or maybe a more sensational line if I can
think of it by then.

(The Nice thing about being a columnist in a maga-
zine for which you write is that you can plug your
own stuff.)

(Hditor’s Note: Oh, yeah?)

Sheik of Sheiks:
SHEIK is a headman or chief. That’s what Ingram
“4 was to the careers of Sheiks Valentino and Novarro.
Now he’s giving himself a break in a _ burnous.
A brilliant, Bigiinesaue in-
dividual, Rex started as an
actor at Vitagraph, turned ‘ ieiiet icferdey fem
to writing and finally rode to Hie pe ing Tce nom
glory with his “The Four iE awatii, wnic reads:
Horsemen.” In the same Am here all forget my
picture Valentino tangoed to ‘trube and ‘ave great
the seventh cinema heaven. time."
Rex had a series of violent
disagreements with Rudie
and declared one day he’d
pick an extra from the mob
and make him a greater star.
The extra he picked was
Ramon Gil Samaniego from
Durango, Mexico. The Sa-
maniego name was set aside
- for Novarro. Ramon had no
more to do with choosing
this than with the original.
Rex closed his eyes, jabbed a
pin in a map of Spain and it
stuck in the town Navarro. _
Ramon objected that this | D. VA

at\ A fi
Zao y ‘en

bk New Movie Magazine, February, 1932 ol

For evening, Gen-
evieve Tobin, Uni-
versal player, likes
this white ermine
cape with its tai-
lored vest front as
a smart contrast to
period frocks.

Genevieve wears a
short moleskin jacket
and a smart derby
hat with her rose-
colored frock. She
carries a hand
muff, too.

The

WHAT THEY

Bette Davis, Universal player, is shown
above in a black chiffon suit that's all
dressed up with a fur-trimmed cape,
tiered skirt and white chiffon blouse.

The New Movie Magazine, February, 1932

Black chantil-
: ly lace over
: satin is worn

Tan tweed is
set off by a
brown leather

belt, a brown here by Gen-
felt turban evieve Tobin.
and Rose Ho- The cape is

of cream lace
and the straps
of rhinestones.

bart, shown
below.

With a blue tweed suit
you'll find Mae Clarke,
Universal player, wear-
ing this luxurious double
fox fur neckpiece.

; 53

Concerning—

€ Marlene and Maurice
@ Connie and Gloria

Marlene Dietrich (above) and
Maurice Chevalier forgot that
Mr. Vanderbilt spoke French.

Gloria Swanson and her new
husband, Michael Farmer.
He was once rumored pay-
ing ardent attention to Con-
stance Bennett back in 1925.

All Around Hollywood
with

Cornelius Vanderbilt, Jr.

HOLLYWOOD, CAL.
LL Hollywood is buzzing over the apparent interest
that Mauriee Chevalier is paying to the Dietrich.
The other evening at Cocoanut Grove they sat at
the next table to me. For the first time since I have
known her, I noticed the eager interest Marlene paid to the
handsome French playboy.

They conversed constantly in French and, on account of
their proximity to me ard my understanding of the lan-
guage, I couldn’t heip but overhear what they were saying.
Most of their talk- was about love and the beauties of an
understanding in life. 5

Chevalier’s seeming aloofness must have had its effect
upon her, as it has had from the beginning of his career
upon hundreds and thousands of other feminine hearts.

Marlene was clad in a stunning black velvet gown that
resembled a tea gown perhaps more than anything else.
Chevalier was in his evening clothes.

For all the world it was a twosome, so it appeared,
though they were accompanied by the Adolphe Menjous and
Osear Straus, the pianist.

The last time I saw Marlene in action, so to speak, was at
a dinner party given by Charlie Chaplin
‘a year or so ago. Young Baron Roth-

The New Movie Magazine, February; 1932

@ Mr. Menjou, Diplomat
@Phone Calls at Midnight

childe was visiting Hollywood, together with other young
Frenchmen. Marlene arrived with Von Sternberg, but
spent most of the evening in a cross-table flirtation with
Rothchilde.

After dinner she made a date, in her native tongue, with
the young French millionaire, but—I should
judge—without the knowledge of Von Stern-
berg. For no other reason, save that again my
opened ears had caught the significance, I spoke
with the two in their native tongues later on. It
was amusing to see the look of sudden amaze-
ment that flashed across their faces when they
understood that I, too, had been in their secret.

Eee that was why Marlene almost gasped
when she caught sight of me at the Cocoa-
nut Grove.

Chevalier looked around hurriedly. His face
spread into a broad grin. We had met at Doug
and Mary’s tea in Paris at the Crillon Hotel,
back in the Summer of 1926. He, the then
French stage idol, had come to pay his respects
to the Fairbanks and, incidentally, to discuss a
proposed trip to Russia, from whence I had just
returned.

Seeing his broad grin, I arose from my seat
and went over to him. Adolphe Menjou jumped
up hastily and intervened. Always the diplomat
in real life as well as on the stage, Menjou
quickly beat me to the (Please turn to page 104)

International

Chris Holmes and Katherine MacDonald

(seen above) were recently divorced.

Now he is squiring a Hawaiian princess
and a magazine writer.

Constance Bennett and Phil Plant (left) took the
marital vows in 1924, but the marriage was hectic
. and not of long standing.

The New Movie Magazine, February, 1932 55

Tabloid —

Reviews

A—Excellent
B—Good
C—Fair
D—Poor

POSSESSED—
Metro-Goldwyn-
Mayer—Class B—
Clark Gable and
Joan Crawford in a
dramatic, slightly
sexy film where
Joan begins in a box
factory and ends in
social heaven.

HELL DIVERS—Metro-Goldwyn-Mayer—Class
A—Clark Gable, Wallace Beery, Conrad Nagel,
John Miljan, and Dorothy Jordan. Humor and

pathos among the gobs. Excellent entertainment.
Story and direction much above average.

UNDER EIGHTEEN—Warners-First National—
Class B—Marian Marsh, Regis Toomey, Anita
Page and Warren William, the latter two giving
splendid performances. A story of young love on
New York’s East Side. Light, but entertaining.

56 The New Movie Magazine, February, 1932

THE CHAMP—Meiro-Goldwyn-Mayer—Class A—
Wallace Beery and Jackie Cooper in one of the best
pictures of the year—that of a drink-sodden pugilist
and his devoted son. Great performances by both.
Masterful direction by King Vidor.

FRANKENSTEIN—Universal—Class B—Colin

_ Clive, John Boles and Mae Clarke in a creepy

-thriller. This is no production for nervous

people, or for children. Settings and photog-
raphy unusually good.

The New Movie Magazine, February, 1932

OVER THE HILL—Fox—Class A—Mae Marsh,
James Kirkwood, James Dunn and Sally Eilers
excellent; Henry King’s direction inspiring. Mae
Marsh makes great comeback after thirteen
years’ retirement. Better than silent version.

CONSOLATION MARRIAGE—RKO.-
Pathe—Class B—Irene Dunn, Pat
O’Brien and Myrna Loy, in a film of
makeshift love that proves to be gen-
uine. Not a great picture, but inter-
esting.

THE RULING VOICE—Warners-First
National—Class B—Walter Huston and Doris
Kenyon in another gangster story strutting
about in a high hat. Exciting incident, but
occasionally lacking conviction.

ARROWSMITH—United Artists—Class A—Ronald
Colman, Helen Hayes, Richard Bennett, A. E. Anson,
Claude King, Russell Hopton and Myrna Loy, di-
rected by John Ford. An honest translation of Sin-
clair Lewis’s novel. Colman and Hayes superfine.

58 The New Movie Magazine, February, 1932

THE AGE OF LOVE—United Artists—Class B—

Billie Dove is first-rate in a drama of marriage vs.

career—or, would you rather wash dishes or flatter

temperamental authors? Charles Starrett plays
opposite Miss Dove.

The New Movie Magazine, February, 1932

THE SPECKLED BAND—British—

Class C—A modernized Sherlock

Holmes, featuring Lynn Harding, Ray-

mond Massey and the London fog. Of
the old school of melodrama.

ONCE A LADY—Paramount—Class B— Ruth
Chatterton and Geoffrey Kerr in a picturiza-
tion of what happens to an emotionally high-
powered Russian woman married to a dull
Englishman. Not Miss Chatterton’s best.

Photograph by Ferenc

RICHARD BARTHELMESS

This perennial star likes steamed clams, old English prints, the smell of livery stables and burning leaves, the

fun of riding in a hansom cab, old churches in Mexico and football games. He doesn't like to work in Summer.

He likes to run away from Hollywood between pictures. He loves Havana because it is exciting. He gave up

golf six years ago. One of the things he loves most is to hear Jascha Heifetz play Debussy's "The Girl With the

Flaxen Hair." When he exhausts his vogue as a movie star, he plans to turn to motion picture direction and the
production end of the screen.

60 The New Movie Magazine, February, 1932

An Etching of Richard Barthel-

mess, Who is Celebrating His Fif-
teenth Year in Pictures

BY JOSEPH HENRY STEELE

N the first day of every production Richard
Barthelmess is struck with fear and trepida-
tion. His stage fright is equal to that of an
amateur on a try-out night. Living he regards

as the subtlest art of all arts.
He likes the skyline of New York from Central
Park. He is extremely fond of shore dinners and par-

ticularly steamed clams. As the years slip away he finds.

himself less attracted to the frivolities of the beau
pugs and more drawn to the basic and simpler aspect
of life.

If he had the time he would rather go sailing than
anything else in the world. The sense of complete
detachment from the busy world of things—the free-
dom that comes with aloneness—it is this which makes
sailing on the high seas such a fascination to him.

Studio executives were surprised when he consented

to appear as support in the first of the Bobby Jones
golfing series. His answer was in this case he was
simply to play himself and not enact an acting role. He
believes hunger and necessity the strongest factors in
human progress.
_ Some day he intends to build himself an early Amer-
ican house, but it must be in the proper setting. The
metallic California mountains do not answer this re-
quirement. He favors low ceilings and Dutch doors.
He believes that every obstacle in the path of an artist
acts as a force to impel him forward.

In Summer he tans himself like a Bedouin, lazies in
the sun and doesn’t like to work. He is a collector of
old English prints and etchings. He does not believe
that beauty is only skin deep—if it is only skin deep
then it is not beauty.

Hé likes to run away from Hollywood whenever

opportunity affords. It is the only way, he says,
one can keep a decent perspective of one’s screen
efforts. He does not like squab or duck dinners. He
considers pleasure as important a business as the busi-
ness of busy-ness.

The only humor that appeals to him is that of Ste-
phen Leacock and Robert Benchley. He prefers the
night clubs of New York and Paris. He doesn’t like
Sunday papers except for the theater page and sport-
ing events. He cannot endure professional funny men.
He is particularly fond of Havana because it is mad,
hectic and exciting. He is often inconsistent and self-
contradictory. ;

He likes the smell of livery stables and burning
leaves. He does not like modernistic furniture. Ver-
sailles always interests him and he never tires of visit-
ing it. He likes to eat at the oyster bar in the Grand
Central Station. He believes that no experience—no
matter how bad or inconsequential it seems—is entirely
lost to an intelligent man.

He likes to ride around in a hansom cab and regrets

The New Movie Magazine, February, 1932

Photograph by Ferenc

Here are some of the things Dick Barthelmess best remem-
bers: A Christmas dinner at Childs' restaurant when he
was a small boy, President Roosevelt delivering an address
at the commencement exercise at Trinity College, Jack
Dempsey being knocked out of the ring by Firpo, opening
night of "Broken Blossoms," and his first sight of little
Mary Hay Barthelmess just after she was born.

the passing of this vehicle. He does not like women
who are addicted to an excess of perfume. He likes
opening nights in New York and cannot stand them in
Los Angeles. In the former, he says, you go to look at
something and on the coast you go to be looked at. He
believes mass production has done immeasurable harm
to American talent.

Some one once published that he did not wear socks
with evening clothes. It made him furious. He is con-
stantly in fear of being misquoted. He gave up golf
six years ago. He broke eight clubs in one year and
decided to call it quits. He believes meddlers and
snoopers contribute more unhappiness than any other
single class.

He intends to retire only when his forward march
has stopped. He may then turn producer-director and
thus appease his creative urge. He would like to write,
but not having built for such a career he feels it is too
late now.

He has definite talents for satiric expression, but the
urge is not strong enough to make him endure the ex-
acting routine for success in such work.

This year is his fifteenth anniversary in pictures.
Fifteen years ago he made the transition from taking
notes in the lecture hall at Trinity to facing movie
cameras. He began with extra work, then came “War
Brides” and then success. His favorite eating places
are The Colony, Luchow’s and the India House in New
York; the Louisiana in New Orleans, Henri’s in Lyn-
brook, Long Island; Prendes in Mexico City, Café de
Paris in Havana, the Embassy Club in London and La
Tour d’ Argent in Paris.

[ENUIE sheer quiet he prefers the Canadian woods,
Havana for excitement, and for motoring the Aus-
trian Tyrol, Switzerland, and (Please turn to page 99)

Fe86 — A baby dress of

latest design, shown above
(at left), is easy to make
with the aid of this circular.

Fe87 — You will have no
trouble making the new style
sleeping bag shown above
with diagram and directions
given in this circular.

CE ee

SRR Sooo Ks
KOSS CZ
SSS Fok

gees -*

Fe90—The hassock, made
with the help of this cir-
many uses.

cular, has

Fe9I—Here are amusing
appliqués for baby
clothes.

Fe92 — Here are

directions for knit-

ting the wool cover-
let shown above.

New Styles for the Baby

You can make any of the baby things shown on this page with the help of our
New Method Circulars. Write to Miss Frances Cowles in care of this magazine,
enclosing 4 cents for one, 10 cents for 3 or 20 cents for all ten circulars.

Fe88 —The slip, shirt and

kimono shown above are

part of the layette of six

practical baby garments

that you can make with the
aid of this circular.

a = Fe89 — Easy-to-make bibs for
= = =—= every occasion are presented in
this circular.

UAVS

i
a

Me
U7

ICI}

Baty}

Fe93 — Bonnet, mittens and
bootees of the smartest sort are
featured in this circular.

Ja95—If you want your baby to have

a crib spread and pillow cover of the Fe94—You can knit this three-
latest fashion send for this circular. piece wool set with the help of

this circular.

The New Movie Magazine, February, 1932

A modern version of the type of dwelling built
by the earliest white settlers in this country

Would You Like to

Build

a Spanish House?

VEN if the Spaniards had never had anything to
do with the early development of this country,
and even if they had never settled in Mexico,

California and other South-
ern states, the type of house we
are featuring this month would be
worth thoughtful consideration.
But the fact that, before there
Were any permanent English and
French settlements here, courage-
ous Spaniards had set up house-
keeping in the new world, and had
devised means of building their
own traditional kind of dwelling,
gives this ruggedly beautiful type
of house a peculiar appeal. After
all, it is the earliest form of
Colonial architecture in the coun-
try and the adaptation of Spanish
ideas and methods of building
has been going on for over three

centuries. So, while we still speak of houses of this
sort as Spanish, they are as genuinely American as any-
thing this side of an Indian wigwam.

Until within the past twenty or thirty years, how-

We Want You to Help
Decide

This is one of the four houses that
we have chosen from plans prepared by
the Architects’ Small House Service
Bureau, Inc. Read this article through
so that you will be ready to send in
your vote next month after the fourth
house has been presented.

The New Movie Magazine, February, 1932

ever, the Spanish traditions in house building survived
only in California and other Southern states where the
early Spaniards had settled, and Northerners and Hast-

erners visiting in these states
looked upon such houses as quaint
and old-world in their appeal,
while their own houses adapted
from English or French or Dutch
designs, or put together without
any design at all, seemed thor-
oughly American.

Within recent years, however,
the Spanish-American type of
house has been gaining ground in
all parts of the country. Many
architects recognized in its simple
design, in its vivid color and in its
rugged construction an idea and
a method that might well be car-
ried out in the building of mod-
erate-sized American homes in

Northern climes as well as in the South.

Ask any American to define a Spanish type of house
and he will usually mention red tiles and a patio, be-
cause these are the features that are most outstanding

Renderings by Schell Lewis

and essential in the sunny Spanish dwelling.

In the construction of the house presented this month
the roofing of variegated red tiles is indispensable.
Those chosen are the old mission type laid in random
lengths over a low spreading roof, which though fairly
shallow still has sufficient pitch to carry off snow in
colder parts of the country. The traditional old Spanish
house was made of rough rubble stone, softened by
numerous coats of whitewash. In the modern adap-
tation a similar effect is obtained from stucco laid
over walls of brick, hollow tile or wood frame, often
painted a soft hue to give the effect of the soft tones
produced by age.

The old-world Spaniard built his house round an open
patio in order to provide himself and his family a
secluded outdoor living room where neither prying eyes
nor rapacious strangers might intrude. Storerooms,
a stable and other small buildings were grouped about
this courtyard as a matter of convenience, and so in the
modern Spanish-American bungalow the garage is given
a definite place in the design of the house, with a small
side door conveniently opening to the patio.

Entering this patio through an arch in the front wall
you may pause to admire the flagstone paved paths,
potted plants and colorful outdoor furniture, or to look
back through the archway to catch a picturesque
glimpse of the front lawn. Inside the patio, directly
opposite the entrance arch, you come upon the front
door which is made of dark
stained oak or a vivid blue,
Chinese lacquer red or some
other cheerful color. Through
this door you pass to a small
hall, opening on the left to a
living room 22 feet long and
13 feet 4 inches wide, with win-
dows opening on two sides and
a door to the porch, thus giv-
ing three-way ventilation and
light.

The dining room, opening
from the living room, has air .
and light from two windows
and the glass-paned door to the
porch, which may be used as
an outdoor dining room in
warm weather. The kitchen,
carefully designed for the con-
venience of the modern house-
wife, is provided with a dining alcove, large storage
pantry and cupboard space. Room for the refrigerator
is allowed in the entry leading to the service entrance

The arrangement of the rooms around the patio has been

thoughtfully planned. You will notice that the sleeping

quarters are separated from the living rooms as they

should be in the single level house, and the garage is
a part of the house and yet off from it.

You Can Tell It Is Spanish

Because of its wide low-lying tile roof,
because of its enclosed, protecting
little patio, with the simple archway

entrance. Because of its small-paned
leaded casement windows, its stucco
walls and simplicity of design. And
because its charm and practicability
lie in its sturdiness of construction.

The patio or
court provides an
open-air living
room with a vista
of the front lawn.

at the back and to the stairs
that descend to the cellar.

The original Spanish house
was made without a cellar, but
in this adaptation there is a
partial basement, large enough
to provide room for laundry,
storage and heating plant.

The plans for this house
show a door leading from the
kitchen to one of the bedrooms,
a convenience to the housewife
which may, of course, be
omitted.

This center bedroom has two
windows on one side and is pro-
vided with a spacious closet. A
passageway from this back
bedroom opens on the front hall
and leads to the bathroom and the second bedroom which
has windows on three sides and a good sized closet.
This front bedroom, measuring 11 feet 4 inches by 13
feet 6 inches, has room for twin beds. A linen closet off
the passageway and a coat closet opening from the front
hall are features that every housewife will appreciate.

If the architect’s advice has been followed in the
building of this house the inside finish of the rooms is
as thoroughly Spanish in suggestion as the outside.
This calls for the simplest of materials, with woodwork
and beams of pine stained dark or in weathered effect
and the walls plastered in sand finish, colored to suit
the individual taste. Hardware used on doors and
windows should be of black rustless or hammered iron,
and in place of door knobs bolts should be used.

A striking feature of this house is the chimney which
rises boldly above the front of the patio wall, filling a
decorative as well as a practical need in the construc-
tion of the house. It is a plain, sturdy sort of chimney
made picturesque with clay tile chimney pots. Another
detail of the house that is especially worth noting is
the garage door stained or painted to match the front
door within the patio. Large hinges of black rustless
or hammered iron may be used to add distinction to
these doors.

And now you have gone the rounds of the Twentieth
Century Spanish bungalow, and have made a thorough
inspection inside and out, what do you think about it?
Possibly it does not appeal to you at all favorably. It
may be the sort of house you’d like to visit occasionally
to provide variety from the more usual sort of dwell-
ings, or you may have been so taken with its old-world

The New Movie Magazine, February, 1932

charm and its new-world convenience and soundness
that you would like to call it your own.

But whatever your reaction, you will find it worth
while to study the plans and to think the matter over,
and then, to refresh your memory of the two other
houses presented in the December and January issues of
this magazine, glance at the plans of the French house
and the English house on this page. Next month be
ready to give the same critical attention to the last
of the four houses that we have chosen for your

. consideration.

We have selected these houses from hundreds of plans

The English House

Combining old-world charm with sound
construction and modern American con-
venience, it clings closely to the ground.

“My

il | KITCHEN
10-4 AION

"BED ROOM
IZ ORS |

IGEANISH, French or English—which house do you
prefer?- We have presented each in a design which
imcludes the best features of its type. The old English
house, of solid brick and stucco construction, with its
friendly chimney, low sweeping roof and casement win-
dows, a house full of repose and dignity, replete with
Old World charm and unpretentious beauty.

Or the French house, compact, artistically correct
down to its last detail, .a house that rises high, that
gives at once the feeling of hospitality to all friends
and of withdrawal to all strangers. Detail of doorway
and window, of terrace and tall chimney are carefully
thought out to give the house its intrinsic excellence of
design. ;

Or will your choice rest on the cool, wide walls and
warm red roof of the Spanish house shown this month?
It has as much to recommend it as the two houses
shown earlier and is a type just as popular—presented
here in its finest manifestation.

Perhaps it will be none of these, but instead the
house we will show you next month. Watch for tt,
compare it with the three that have gone before and
then make your choice—just as you would if you were
building one now yourself.

All Plans and Designs Copyrighted, The Architects’ Small House Service Bureau, Inc.

The New Movie Magazine, February, 1932

that have proved most acceptable to architects, builders
and home dwellers. And these three houses with the
one you will read about next month represent the four
finest types of architecture for the moderately priced
modern home.

_ You could hardly find four houses that present more
variety in design, construction and room arrangement
than these, and yet they are all sound from the point
of view of architect and builder and each may be built
for approximately the same cost.

We have selected and presented these houses because
we want to know definitely just what type of mod-
erately priced house is most expressive of the taste of
discriminating Americans at the present time. We want
you to judge these houses in a purely personal way—
just as you would if you were choosing plans for a house
that you intended to build for yourself and family; and
after you have made the same study of the house to be
shown next month—and not till then—we want you to
write and tell us which you honestly like the best.

These three houses and the one to follow have been
chosen from plans prepared by the Architects’ Small
House Service Bureau, Inc., an organization made up
of leading architects from cities all over the United
States.

To add to your understanding of the Spanish house
presented this month we have prepared a free illustrated
circular giving fuller details of its construction and
answering many questions about this type of house and
general house building that may occur to you. If you
have not already received your circular on the English
house and the French house we would be glad to send
you copies. These circulars also tell you how you can
buy working plans at a nominal price for any of the
houses shown thus far, as developed by the Architects’
Small House Service Bureau, Inc. Just send two cents

postage to the Tower House Editor, for any one of the
circulars you would like to receive.

The French House

Careful balance and intrinsic excellence of
design give an air to this house, with its high
roof in distinct contrast to the English house.

ED ROOM t BED ROOM Ns

WG = Heo 14:97 x 137-

| LIVING ROOM |
x 20-9 |

Photo by Robert W. Coburn

Guests and players standing left to right: Leo Carrillo, Nils Asther, Mrs. Jack Black, Gilbert Roland,

Norma Talmadge, Alice Joyce, Anna Q. Nilsson, Mr. and Mrs. Richard Barthelmess, Dolores del Rio,

Cedric Gibbons, Claudette Colbert, and Norman Foster. Seated, left to right: Ben Lyon, Bebe
Daniels, Vivian Duncan, Herbert Brenon, and Warner Baxter.

30-LOVE at MALIBU

By Eileen Percy

NE of the smartest affairs of last month in the
film colony was Director Herbert Brenon’s third
annual reception and tennis tournament at his
Malibu Beach home, ‘‘Peter Pan.”

The early Sunday morning sun shone on Rolls-Royces,
bright-colored roadsters and town cars as guests began
to arrive for what they knew would be a brilliant event.
By ten o’clock the scene took on a festival appearance,
with gayly striped awnings and beach umbrellas bidding
for attention against the rainbow-tinted beauty of
sports frocks and costumes.

Every one in the film colony who could wield a racquet
had entered the matches and the
games were played off swiftly so that
all might be played during the day.
Cameramen dashed about snapping
pictures of this and that star or
groups of famous spectators who were
cheering the contestants. Filipino
boys in white coats moved about with
tempting hors d’oeuvres and more
substantial food for the hard working
tennis players.

Tennis may be played the year
around in California, so it is natural
that the film folk find the game a
favorite form of recreation and exercise. Some excel-
lent players displayed their skill on the Brenon courts.

pan ONG the players were:

Betty Williams, May Bundy, Ethel Bruce, Josephine
Cruikshank, Louise Dudley, Florence Sutton, Dorothy
Robinson, Cracyn Wheeler, Elizabeth Rathborne, Sue
Severence, Ruby Jenks, Mrs. Doeg, Violet Doeg, Marie
de Sylva, Adela Hyland, Margaret Phipps, Mildred
Brook, Kitty Archainbaud.

Kay Johnson, Jimmie Schertzinger, Louise Garrett,
Katherine Seaver, Dougie Winnett, Eileen Percy, Jessie
Grieve, Carmen Pantages, Gwen McCormack,. Cliff
Hurd, Milton Cohen, Neil Cole, Richard Barthelmess,
Herbert Brenon, Eric Pedley, Victor Schertzinger, Rob-

HOW

Hollywood
Entertains

ert Leonard, William Armstrong, John Cromwell.

Clive Brook, King Vidor, Dick Hyland, Warner
Baxter, Henry Hobart, William Hawks, Noll Gurney,
Theodore von Eltz, Gilbert Roland, Cedric Gibbons, Ben
Lyon, Oliver Garett, Bud de Sylva, David Butler, Ralph
Ince and George Archainbaud.

Trophies were presented to the winners of the
matches by their donors:

Dolores del Rio, Leo Carrillo, Carl] Laemmle, Sr.,
William Powell, Richard Barthelmess, Warner Baxter
and Ronald Colman.

In memory of his mother, Mrs. Esther Brenon, Mr.
Brenon offered a magnificent, en-
graved silver bowl trophy which will
have a permanent place in Mr.
Brenon’s home and will record the
feminine winner each year.

Gilbert Roland and his partner,
Bonnie Miller, captured the first
prizes by defeating Ralph Ince and
Elizabeth Deike in two hard-fought
sets. Score: 6-2, 6-2.

beads,
arette case of white enamel and silver,

presented by Dolores del Rio, and the silver bowl given
by Mr. Brenon.

Roland won a gold pencil and pen combination, pre- —

sented by Ronald Colman, and the bowl matching Miss
Miller’s given by Mr. Brenon.
Ralph Ince, as runnerup, won an Italian leather sec-

retary box, presented by Warner Baxter, and his part-—

ner, Elizabeth Deike, won a beautiful tennis case of

pigskin and racquets, a gift of Mr. and Mrs. William —

Powell (Carole Lombard).

In the semi-finals, Bud de Sylva and Caroline Bab-

cock won the prizes given by Elizabeth Meehan and

Warner Baxter, a black onyx vase with silver figures _
for Bud and a bottle of Guerlaine’s perfume for Caroline. —

Elizabeth Meehan and (Please turn to page 120) j

The New Movie Magazine, February, a

Miss Miller won a necklace of white ~
connected with white gold
chains, a bracelet to match and a cig- ©

THE LABEL SAYS IT...THE FLAVOR SHOUTS IT...

HEINZ BEANS ARE BAKED!

In’s probably news to you—it is to nearly
everyone—but most of the so-called baked
beans aren't baked at all. They're really
steamed or boiled.

Before you say “Impossible!” look on
the label of the brand you use. Unless you
find the word “Baked” on the label, those
beans aren’t baked!

You can tell real baked beans by the
label—and by the flavor! Just try Heinz
Oven-Baked Beans. They're tender and light
and plump — their golden-brown goodness
blended with a thick, delicious sauce. Be-
tween them and steamed or boiled beans
there’s all the difference that there is be-

tween a crisp-skinned, flaky baked potato

and a boiled potato.

Yes, Heinz Beans are baked —actually
baked in ovens by the special Heinz
method. This oven-baking makes beans
wonderfully light and digestible — brings
out the full flavor—lets the sauce per-
meate through and through as butter per-
meates a baked potato. One mouthful of
Heinz Oven-Baked Beans—and you'll never
be satisfied with any other brand!

You can get Heinz Oven-Baked Beans in
four tempting styles. Two styles with to-
mato sauce—with pork and without. Then
there is Boston Style—with pork and a rich
molasses sauce. Lastly, Baked Red Kidney

Beans in a savory sauce—ready to serve.

WITH PORK with PORK anb
\ BOSTON STYLE A
Wee TOMATO SAUCE

am 57 ia MEINZ
WAT Fi50 euvovt!? von STs
PORE Foe paowuct:

wid HEINZ CO.
tT:

WITH TOMATO SAUCE —
AND PORK

BOSTON STYLE—
WITH PORK

IN TOMATO SAUCE—
WITHOUT MEAT—“ VEGETARIAN “

= OVEN BAKED
RED

KIDNEY BEANS

WITH PORK

RED KIDNEY BEANS—
WITH PORK

Try all four styles. You can get them in
convenient sizes. They Il lend variety—give
anew thrill to that good old favorite—baked
beans. But to be sure of getting real baked

beans, insist upon Heinz Oven-Baked Beans!

CORN AND KIDNEY BEANS

1 medium can Heinz Oyen-Baked Kidney Beans

1 medium-size can corn

green pepper

Y% teaspoon salt

1 egg

3 tablespoons grated cheese

Few fine buttered bread crumbs

Mix the beans, corn. green pepper, minced finely,
salt and the egg, well beaten. Pour into a buttered
baking dish, sprinkle top with cheese and a layer of
buttered crumbs, and bake in a moderate oven for

Pixlele

a fascinating booklet!

Menus and recipes that will open your eyes! Main

30 to 45 minutes.

dish surprises (economical. yet unusually deli-
cious)! New and different supper snacks! Salads!
Sandwiches! Soups! Lunch box suggestions. Mail
the coupon!

H. J. Heinz Company
Dept. TM2, Pittsburgh, Pa.

Please send me—FREE—your booklet of Baked
Bean surprises.

Name.
Street.

Gif State

Crinkle Cups and Baking Dishes are now on
sale in these sizes: No. 845, for tea cakes.
No. 1045, for cup cakes. No. 1545, for muf-
fins. Baking Dishes for layer cakes, to fit 9
in. or 10 in. pans (by top measurement). If
you do not find the size you want, we will
send it to you at 10¢ a package, postpaid.

OLDMILL PAPER PRODUCTS CORP.
Linden St., cor. Prospect Ave., Brooklyn, N. Y.

“What's this-anofher size in-

Crinkle Baking Cups2”

“Yes, for tea cakes. And, | ask,

could anyone do a prettier
job of baking than this?”

Cup cakes and muffins. Layer cakes in
perfect circles. Now, those tiny tea
cakes that look so pretty on the table.
You can make them all in short order
with Crinkle baking cases, specially treated to prevent
sticking and burning. No greasing, no broken, wasted
cake, no hard-to-wash pans. Crinkle Baking Dishes fit
standard layer cake pans. Crinkle Cups, made in three
convenient sizes, may be used to line small cake pans or
by themselves, on baking trays. Save time and work. Use
them all, for cakes and other good things.

SOLD AT 5-AND-10-CENT STORES

Belasco wanted to send Belle
Baker to Europe to study drama
but she preferred vaudeville.

Life is Funny: A _ twenty-two-year-old re-
porter on the Tulsa (Oklahoma) World becomes
an actor for a week to collect material for a
series of stories. He likes the ingénue in the
cast. Five months later he marries her. A
year later a son is born. Four years later they
are talking about ‘Raising Junior’—six nights
a week on the air. Aline Berry and Peter
Dixon, of course.

1918. The armistice is signed and a group
of sailors, on leave in Mexico, step into the
Silver Dollar Saloon. One of them takes the
fiddle from the ragged orchestra and plays it
for a lark. The owner offers him a job. He
takes it and organizes an orchestra. Today he
is the highest paid band leader on the air—
Andy Sanella. 5

1915. And a little boy is laboring over a
violin in Calistoga, California. His teacher is
unsparing, for he recognizes his talent. His
father, himself a Neapolitan musician, dreams
of another Heifetz. Seven years later eleven
brothers and sisters thrill as the boy solos with
his violin at San Francisco’s Imperial Theater.
Then a hotel man hears his voice and offers
him seventy-five dollars a week to sing at the
Mayfair in Los Angeles. Today he is a bari-
tone idol—Russ Columbo.

_ The New Movie Magazine, February, 1932

Radio
RAMBLES

Who’s Who and
What’s What Among
the Stars You Hear
But Seldom See

Bah ate anttaven ont rreeeeene tint

Peise Dixon and Aline
Berry (Mrs. Dixon) really
like each other.

Gene and Glenn, who
get up early every morn-
ing except Sunday.

This shows you. Clara,
Lu 'n' Em—of broadcast
fame—are all under 30.

Kate Smith sings to her
maid. One way to keep
maids—if you can sing.

Only three months ago and two show girls are out of
two jobs. Tired from the rounds of the booking offices,
worried about their rent, and distressed about their
clothes, one of them goes to bed and the other turns
on the radio. She hears a sketch about the theater.
She feels she can do better. She writes twelve sketches
and calls up the owners of the highest building in
Chicago for an appointment. She gets an interview.
She gets a contract. She goes on the air with her
roommate in competition with Amos ’n’ Andy to boost
the sales of chewing-gum—Myrtle (Myrt) Vail and
Donna (Marge) Damerel.

Ahh! Eats! Are you thinking of asking your air
favorites over for dinner some night? This menu
might help:

Fish cakes for Andy Sanella and coffee ice cream, but
order raspberry ice, too, if Morton Downey is coming.
Eddie Cantor will kiss you for a good plate of salami
and hotdogs, but be sure to have a doctor handy, because
they don’t agree with him. Give Floyd Gibbons creamed
chipped beef on toast with figs and cream on the side.
Abe Lyman will be satisfied with just pears, but for
Alice Joy you had better prepare a three-inch steak and
cover it with onions. Don’t forget the rye bread for
Harry Richman, and just give Bing Crosby coddled eggs
and chicken livers. Now you know what they like

est.

Pretty Irene Taylor comes
from Missouri but she does
the showing herself.

Helen Dumas makes your
heart throb in Love and
True Story Hours.

is flirting seriously with
the microphone.

Jean Aubert—from Broad-
way—is a popular guest star
on the air.

The Name Doctor: If Shakespeare were alive to-
day, he would not ask what’s in a name. He would
know that though a rose by any other name might
smell as sweet, it would not bring as good a price.

Eddie Cantor could not have been topping $15,000 a
week had he continued as Izzy Iskowitch. Nor could
Ruggiero Columbo have won all the pining hearts that
Russ does. Frances Holeomb is a good example, too.
For two years the swell singer struggled to make a
living on sustaining programs. Now, as Alice Joy, she
has landed a daily featured spot on the million-dollar
Prince Albert program.

The Boy Friend Comes Back: Buddy Rogers, who
may go on the air soon, is another band leader who does
not dance unless he has to. He studied journalism, took
his own orchestra through thirteen states and then be-
came America’s Boy Friend in the movies. Maybe all
this time he has only been practicing to do some real
heartbreaking over the air. You had better harden
your hearts, girls. Remember what Rudy did when he
caught you off your guard. And Buddy is single, too.

What Will Become of Your Child ? You can’t tell
a radio star by his parents—or hers, for that matter.
Aline (Raising Junior) Berry has three United States
Presidents on her family tree. Bing Crosby’s father
was a brewer and Rudy (Please turn to page 114)

The volatile Beatrice Lillie Adele Vasa, the “Dixie
Nightingale," is living on
Park Avenue.

The New Movie Magazine, February, 1932

a 4

This man is the typical millionaire! He has
an imported car —servants— money. Yet all
bis wealth can’t help him if his teeth and
gums are not healthy.

Women especially should be concerned about the looks of their teeth
and their husband’s teeth, Follow the new dental developments. Use
Ipana and massage. Beauty of the teeth, preservation of the gums in

@ healthy state will reward you.

You may live on Easy Street, or work like
a slave—either way, you can have plenty
of grief from soft gums. “Pink tooth
brush”’ can happen to anyone!

As a child, you had good, sound gums.
But now? No! Why? Because, like all the
modern world, you eat soft foods. And
soft foods don’t give your gums enough
work to keep them vigorous and firm.

Gradually your gums have become lazy,

touchy, and tender. They probably leave
j traces of “‘pink’’ on your tooth brush.

And unless you set them to work right
now, gingivitis, Vincent’s disease, or even
pyorrhea might follow. And why endan-
ger the health of sound teeth?

Get after “‘pink tooth brush’’—begin-
ning today. Brush your teeth with Ipana

IPANA

TOOTH PASTE

The New Movie Magazine, February, 1932

This man has muscles of steel. But his gums,
being soft, trouble him. “Pink Tooth Brush”
25 no respecter of people. For all people, million-
aires and workmen, eat soft, creamy food.

This is Ipana Tooth Paste. Use it on your teeth. Massage it into
your gums, Keep your gums firm and healthy with Ipana and
massage, and you will be delighted with the fine, clean appearance
of your teeth—the only teeth you will ever have.

—twice each day. But each time rub a
little extra Ipana into your gums.

You'll notice more sparkle in your teeth
—and your gums will be harder and
healthier. Go on using Ipana with massage
—and forget about ‘‘pink tooth brush’’!

BRISTOL-MYERS CO., Dept. Y-22
73 West Street, New York, N. Y.
indly send me a trial tube of IPANA TOOTH

Ki
PASTE. Enclosed is a two-cent stamp to cover partly
the cost of packing and mailing.

MILLIONS

In a NAME

sential to the development of motion pictures

must include the name of Samuel Lionel Roth-

afel, or just plain Roxy. Cut the list down to
five names even, and this premier showman would be
among the elect by reason of the far-reaching conse-
quences of his accomplishments.

He found the motion picture flickering through the
dark of tawdry theaters and dingy storerooms, only a
few steps removed from the peep-show in a penny
arcade.

He found a cheap novelty, crudely housed, and moved
it into a congenial atmosphere where it might mature
into a thing of beauty.

He gave the motion picture a rich environment, clean,
luxurious, inspiring.

He treated the new art form with respect and in-

duced others to do likewise.

He had faith in his ideals and
he believed in himself so implic-
itly that he changed the face of MEN
the amusement world.

Now, in the full swing of his
dynamic career, his electrifying WHO
energy is being thrown with-
out reserve into the construc- MAKE
tion of the vast Radio-Rockefel-
ler amusement center in New
York—a _ five-ten-twenty-five THE
semblance to Mussolini. It is
not misleading. Whether he re-
alizes it or not, Roxy bears a temperamental kinship to
the Big Boss of Italy. Of course he is egotistical: he
had to be in order to arrive where he is today. He is
dominant and aggressive. He is a dreamer with a
dynamo at his bedside. He is a wizard at organization
and is fully aware of the value of man-power when
properly directed.

year plan.
Study the portrait on this
Nothing but the best is good enough, whether it be
for the public, his associates or for himself.

A list of the ten men who have been most es-

page and you will detect a re-

RIGHTLY or wrongly, Mussolini visualizes the perfect
state and directs his genius towards its realization.

In a like manner, Roxy visualizes the perfect theater
and dedicates his life to its creation: not a theater of
motion pictures alone, rather a harmonious blending
of pictures, music, dancing, expressive colorings and
architectural beauty. He has an innate feeling for all
of these things, along with the ability to choose and
direct men possessing a technical craftsmanship which
he has not had an opportunity to master.

For example, Roxy has a keen appreciation of music,
but no technical training. When he decided to install
a first-class symphony orchestra in the Strand Theater,
New York, in 1913, he engaged Hugo Reisenfeld, a truly
fine conductor, and gave him and his baton full Swing.

The result was the attracting of a new clientele and a
more serious consideration for the entertainment of-
fered on the screen. Roxy applied the same principle

The name is Rothafel,

By
Lynde Denig

Wide World

His first job was cash boy in a New York depart-

ment store. Today he builds and directs the
greatest film palaces of the world.

to other departments of his organization. He supple-
mented his own abilities with the talents of others.
His first question is not, “How much does it cost?”
rather, “How good is it going to be?”

PERHAPS Roxy’s craving for beauty is an instinctive

reaction from the drab realities of his childhood.
Born in Stillwater, Minn., July 9, 1882, his parents
brought him to New York in 1894 where he worked as
a cash boy in a Fourteenth Street department store.

His next job was that of a book agent making a
house-to-house canvass, which accustomed him to hay-
ing doors slammed in his face. This hardening process
lasted for three years. It was continued in a quite
different way throughout another seven years as a mem-
ber of the United States Marine Corps.

After his honorable discharge from the service, he
located in the mining town of Forest City, Pa., where
he served as waiter in a beer garden.

During off hours, the young waiter occasionally vis-
ited a hole-in-the-wall picture show, dark, poorly ven-
tilated and odorous. When Roxy had saved a few dol-
lars, he rented a storeroom, dickered with a local un-
dertaker for the loan of (Please turn to page 108)

but just call him Roxy

The New Movie Magazine, February, 1932 ;

mf
¥

“Fickle!” they said. ““Never
twice with the same man.”
But the bitter truth was...

pe made her pretend. Smile though her heart
was heavy. Laugh to keep back the tears.
Flirt with each new admirer—to try to forget
the ones she had lost!

But beneath her gay mask, how empty her life!
Friendships that never lasted. Dreams that never
came true... Tragic that she didn’t realize how
she was offending—or the untold harm that care-
lessness about “‘B.O.”’ (body odor) can do!

A fatal barrier

If we want to make friends—and hold them—we
dare not take chances with *‘B.O.”’ Merely think-
ing we'te safe isn’t enough. Our sense of smell
soon becomes used to an ever-present odor. But
others notice a hint of *‘B.O.”’ instantly—and
promptly avoid the offender.

Lifebuoy

SHAVING
CREAM

Its extra-moist lather
soothes the skin — soaks
wiry whiskers soft—

At your druggist’s

The New Movie Magazine, February, 1932

A PL with an
‘Hleart

Gayest of the gay,
she seemed. But
when alone—the
tears came! Lonely,
unhappy, no lasting
friendships —all
because of “‘B.O.”’

Take no chances. Conquer “‘B.O.”’ the right
way. Don’t try to cover it up with powders and
lotions. Go straight to the cawse.Keep pores clean
—deodorized—by frequent bathing with Lifebuoy.

A delightful toilet soap—and more! Lifebuoy’s
creamy, refreshing, abundant lather penetrates
and pwrifies—removes every trace of odor. Its
pleasant, extra-clean scent—that vanishes as you
rinse—tells you Lifebuoy is a real ‘‘B.O.”” safe-
guard.

An ideal complexion soap

Lifebuoy’s bland, creamy, pore-purifying lather
keeps complexions lovely. Massage it well into
the skin nightly, then rinse. It will gently free
pores of clogged impurities—quickly bring back
fresh, healthy radiance. Adopt Lifebuoy today.

A product of LEVER BROTHERS CO., Cambridge, Mass.

Lifebuoy

HEALTH

cone: ——stops bod y O dor—=

7A.

Beauty
Goes to the
Head

By Ann Boyd

Judith Wood Tells of Hair-
dresses to Go with Her Pet
Spring Hats

‘

me AIRDRESSES are coiffures now.
running a comb through your tresses, if they
are bobbed, or ‘doing them up’ with no re-
flection—except the mirror.
“That doesn’t mean,” says Judith Wood, Paramount
featured player, “that we are going back to powdered
wigs, puffs and fluffy curls. Quite the opposite.

No more

“Simplicity,” says Miss Wood, “is the keynote of the
new hair styles. Waves are softer than ever before and
curls are little flat coils kept in close harmony with the
contours of the head.”

Miss Wood has two special coiffures to wear with her
favorite hats. For the upturned brim at the side and
back she wears her long hair softly dipped at the side
with the ends turned round and round into little “sculp-
ture curls.” For the hat with the downturned brim
worn off one side she coils her hair into one bun on
the left side of her head.

“It’s most important,” she insists, “that your hair,
whether blond or brunette, long or short, is kept in
the best of condition. It must be lustrous and glowing
with health or the new coiffures don’t mean a thing.

Judith Wood, fea-
tured Paramount
player, has de-
vised a flat curl
coiffure to comple-
ment hats with

brims upturned at
the back.

For hats with
downturned
brims worn deep-
ly over the right
side Miss Wood
coils her long
hair into a bun
on the left side
of her head.

Shampooing should be done at regular intervals—like
clockwork—and if you don’t brush your hair at any
other time, at least give it a chance right before and
after it’s shampooed.”

TPE extreme .short bob seems to have taken its final
bow with a good grace, but that doesn’t mean that
long hair—of the old-fashioned type—is back with us.
The movie colony started the parade back to longer
locks, but they only went halfway with it and there
they stay. The medium cut seems to be the cut of the
moment—hair long enough to put up, or curl around,
when desired and short enough to wear without pins if
that fits the mood.

But fluffiness and flyaway hair is seldom to be found
except on a few to whom it is particularly flattering.
The turn is all to simplicity—coiffures that are molded
to the head or reveal its contours.

For the girl who likes straight lines many of the
new hair styles will be a surprise and a delight. Often
they feature hair that is without a sign of a wave,
plastered down to the head (Please turn to page 121)

The New Movie Magazine, February, 1932

CHC LL

bees
EIT gaGoh SO soft
- acdib aie 400°

s
p . mo! OS Coto
PPE od PAP nfo
gn 0° qos, 6° co™

eck, o>

A photographic representation of inferiority complex caused by Domestic Hands
Interpreted by Anton Bruehl

Does your face, too, tell of

Domestic Cares?
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If your druggist cannot supply you, write to A. S. Hinds Co.,
Dept. B-25, Bloomfield, N. J.

The New Movie Magazine, February, 1932

VCC) A BADGE OF

MARRIAGE 2

Her poor bewildered husband simply can’t
understand the change that has come over
Helen since her marriage last June.

She used to love to go to parties and to give
them. But now she never wants to go
anywhere and she hates to have people
come into their home.

When old friends drop in unexpectedly
she is so queer and so self-conscious. It
was actually embarrassing the other night
when ‘Tom brought Ted Graham home
for dinner without warning. And after he
had gone there was another of those awful
Wweepy scenes.

The real trouble with Helen of course is
a bad case of Domestic Hands.

Unaccustomed to housework before her mar-
riage, she simply has not learned that it is
easily possible to have lovely, soft white
hands and still get along without a maid.

A Soothing Pure-as-Milk Lotion
that Keeps Hands Young

You can easily avoid the embarrassment
of Domestic Hands and the inferiority
complex that goes with them. All you
need do is smooth Hinds Honey and
Almond Cream into them two or three
times each day. Within a few days’ time
even hands pitifully roughened by neglect
grow softer, whiter and more attractive.

Don?t Take Chances with
Questionable Lotions

The delightful caressing texture of Hinds
comes from the mildest and finest skin-
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half-century tested formula. Avoid imita-
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skin. Don’t take chances. Insist upon the

original Hinds Honey and Almond Cream.

Get Hinds from your druggist today.
We’ll gladly send a generous sample, free,
if you will write the A. S. Hinds Co.,
Dept. B-25, Bloomfield, N. J.

The Bandwagon—New Names and Fads

her comeback picture, “Get That
Woman,” January 15th, instead of
December 15th, as formerly an-
nounced.

Clara wanted to spend the holidays at
the Bow-Bell ranch in Nevada, instead
of under the Kleigs.

The Brooklyn bonfire has drawn
$25,000 advance money of the $75,000
she will receive for the forthcoming
production, ’tis said.

We’re all pulling for Clara to come
back with a bang.

Even the Hillman sisters, fa-
mous Siamese twins, keep up with
the movie parade.

The first question they asked,
upon arriving at the M-G-M studio
where they are playing im
“Freaks,” was:

“Where is Clark Gable?”

T CETERA: Bebe Daniels left Ben

Lyon and Mama to look after
Barbara Bebe when she went to San
Francisco on twenty-four hours’ notice
to prepare for her first stage play,
“The Last of Mrs. Cheney.”

The New York stage is welcoming
Helen Chandler back from her two-
year absence in talking pictures.
She opened in Benn Levy’s comedy,
“The Soul of Henry Dewlip.”

Ona Munson has been offered a part
in a Sam Harris musical with George
Gershwin tunes.

(Continued from page 17)

EW CODY’S SPATS: Many jokes
have been told about Lew Cody’s
spats, but none funnier than the one he
relates about the last trip he made
through San Quentin penitentiary, on
personal appearance tour.

“We walked through the women’s
ward,” said Lew, “and a pretty, blonde
girl eyed me from head to foot, with
a disdainful smile. When her eyes fell
on the spats she ‘took it big,’ as we
actors say, and, as we passed, I heard
some one say, ‘Phew-ew-ew—h!’

“Tnstinetively, I turned to see the lit-
tle beauty still eyeing the spats. As we
went on, a voice said to my back, ‘Well,
nevertheless, phew-ew-ew-ew-h!’ ”

When Robert Coogan chased a
little girl off the set at Paramount,
during the making of “Sooky,” he
said:

“TI wasn’t trying to be a sheik. I
was just being Harpo Marx and
searing her.”

EW NAMES AND PICTURES:

Leon Adams is the new name for
Junior Carl Laemmle’s discovery, Leon
Waycoff, who is doing ‘Murders in the
Rue Morgue.” ... Joe E. Brown’s “You
Said a Mouthful” was first titled “‘Fire-
man, Save My Child.” ... Olin (“Over
the Hill”) Howard has been re-signed
by Fox for “Salomy Jane,” the Bret
Harte story. . . . After “Good Sport,”
John Boles leads in “Scotch Valley.”

EW GIRLS FOR OLD: You can’t

tell your Hollywood girl by the
color of her hair any more. Jean
(“Platinum Blonde’) Harlow is toying
with red dyes and Laura La Plante has
gone platinum.

OW YOU KNOW: Patou made eve-

ning gowns to Constance Bennett’s

measure while she was in Paris. That’s
where some of her $30,000 goes!

Prodigal child note: A Holly-
wood Boulevard shop front gives
us this one: “Come back, pros-
perity, please! All is forgiven.”

AUDEVILLE FROM $25 UP: The
famous Moran and Mack team
worked for $25 a week in a Los Angeles
theater recently. They had gone in for
fifty per cent of the gross over $6,000,
and the box-office took in only $6,050.
Vaudeville is coming back and more
movie stars are daily taking a profitable
fling at it. Mitzi Green started in St.
Louis at $2,000. Jean Harlow opened
in Philadelphia for $2,500. And James
Cagney, Conrad Nagel and Joan March
took off from New York.

Educational Note: If Warner
Brothers wanted to become a col-
lege it would only need the classes.
It already has the teams. Joe E.
Brown is guiding the baseball nine,

(Please turn to page 76)

Photo Emmet Schoenbaum
The complete wedding party at the nuptials of Constance Bennett and the Marquis de la Falaise. Back row, left to
right, Neil McCarthy, Henri Didot (French Consul, who stood up with the Marquis), Hank himself, Richard Bennett,
Judge Lewis R. Works (who performed the ceremony), Geo. Fitzmaurice and Gene Markey. Seated, Mrs. Geo.
Fitzmaurice, Marion Davies, Eileen Percy, Miss Bennett, Joan Bennett (who stood up with her sister) and Barbara
Bennett Downey.

The New Movie Magazine, February, 1932

(Nave your own hair...

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ITH hats that show half your

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WHY TAKE CHANCES
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For sale at most F. W. Woolworth
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The New Movie Magazine, February, 1932

THEY’RE SMART!

The Bandwagon—Lupe and Gary

Ruth Hall captains the polo bicycle
team, and Doug Fairbanks, Jr., is
admiral of the moleskin aggrega-
tion.

RIAL AND DIAL: That trial sep-
aration agreed upon by Don Alva-
rado and his wife, Ann, is working out
—toward a permanent one.
He is wearing a callous on his finger
—dialing Marilyn Miller’s number?

ESIGNING MALE NOTE: This
time it is Mary Nolan and Hilda
Deesy who are fighting over a man.

Hilda, who was once a famous ac-
tress, runs a dress shop on Wilshire
Boulevard. When Mary came back to
Hollywood she went to live with her
and all went well until one day Mary
upped and opened a rival establishment
almost next door to Hilda’s.

Well, thought Hilda, Mary must live,
too, so she did not feel too badly about
it until she walked into her store and
found that Mary had also stolen her pet
designer, William Brown.

Now on top of it all it turns out
that there is a Mrs. Brown in the city,
too.

Poor William!

Now He Wears a Veil: A traffic
officer thought he saw a car driv-
ing backwards. But it wasn't a
car driving backwards. It was
Jimmy Durante walking with lis
red nose.

ANHATTAN MOON: John M.

Stahl, the director, and Roxana
McGowan Ray, divorced wife of Al Ray,
say theirs will be a New York wed-
ding.

At the recent annual banquet of
the Academy of Motion Picture
Arts and Sciences—where his di-
rector, Norman Taurog, won the
Academy cup for the best directed
picture of the year—Jackie Cooper
went to sleep on Marie Dressler’s
arm and slept all through Vice
President Curtis’ speech.

“Which qualifies him for the
United States Senate when he
grows up,” says Harry Brand.

HE MAN WHO FOUND AYRES:

Lewis Milestone will take over Sam
Goldwyn’s arduous duties as the new
chief of United Artists. The pictures
are to be made for less, but kept up to
their high standard. He refused to
occupy the fort until he’d had four
months abroad with Douglas Fairbanks
on the second of his travel pictures.
At this writing they are probably tak-
ing shots of the winter sports in
Switzerland.

“Millie,” as he is generally known,
should be a fine man for the job. He
has a great directorial record behind
him. He is well-liked and respected,
human, and has the courage of his
convictions. He started off in the busi-
ness as a film cutter, and knows every
phase of it.

It was “Millie” who chose Lew Ayres
for the part in “All Quiet.” Ayres,
then an unknown boy, had been keeping
body and soul together for two weeks
on nothing but peanuts. He just
wouldn’t give up his dream of a screen
career and go home beaten. Milestone

(Continued from page 91)

put him through a pretty stiff acting
test which lasted ’way into the night.
He knew the boy was hungry, but he
admired the way he kept his chin up.
When the test was run off next day,
he sent for Ayres, and took him to the
office. He told the studio heads that
this was the boy for the job. All argu-
ments were useless. Milestone stood
firm. Ayres had to send for his mother
to sign the contract. He was under:
age... . The rest you know, but if you
don’t think Lew has a warm spot in
his heart for “Millie,” you’re crazy.

ONNIE WEDS ON LUCKY DAY:

Attended by her sister, Joan, and
Hileen Percy, Constance Bennett became
the Marquise de la Falaise in a quiet
wedding at the home of Mr. and Mrs.
George Fitzmaurice. Henri Didot, Con-
sul of France, acted as best man.

The bride wore an Alice blue lace
afternoon dress, with hat to match, and
carried a bouquet of white orchids.

The wedding was followed by a re-
ception and dinner. Among the guests
were Gene Markey, Mr. and Mrs. Ben
Lyon, Mr. and Mrs. Watterson Roth-
acker, Marion Davies, Dr. and Mrs.
Harry Martin and Mr. and Mrs. A. C.
Blumenthal.

The wedding date was selected be-
cause it was the bride’s birthday, the
anniversary of signing her first picture
contract and the anniversary of the
date on which she met her husband
while she was traveling in France.

LIFE LOSES ANOTHER
THRILL: Death will be no novelty
to Mae Clarke. She has gone
through it too often. First jump-
ing out of the “Front Page” win-
dow, then stopping a bomb in
“Waterloo Bridge” and now taking
poison in “Blonde Baby.”

M® HUSTON PAYS AND PAYS:
Among some of the things dis-
closed by Bayone Whipples Huston’s
divorcee from her famous husband, Wal-
ter, is that he used to direct a band.

mo . Wide World
Marian smiles happily as she tacks up
the sign which proclaims her ability.

The New Movie Magazine, February, 1932

Also, when they began to talk about a
property settlement, he offered her
$10,000, but eventually paid her $100,-
000 in cash, with an additional $5,000
promised, approximately $35,000 in
stocks, bonds and life insurance and a
promise of $5,000 a year if and when
his annual income should be $100,000
a year or better.

“HE LONE WOLF: Charles Butter-

worth is a dangerous man for the
families of the other sixteen male
players under contract to Warner
Brothers. He is the only bachelor on
the lot.

EMEMBER: Shades of our child-

hood days! Mary Pickford’s hair is
growing. There may even be curls in
her next picture. And Charlie Chaplin
will film a series of shorts before his
next feature. :

UPE TALKS OF GARY: Either the
sharp ocean breezes had somewhat
chilled Lupe Velez’ accustomed warmth
or she had decided to adopt a new tech-
nique, but the fact remains that it was
a calm and subdued Lupe who returned
to New York after a lightning visit to
Europe. A Lupe who gave vent to no
histrionics nor in any way lived up to
the fiery outbursts of affection usually
attributed to her. 13%)
When we saw her in her suite at th
Ambassador, she was lying drowsily in
bed working a game on the order of
cross-word puzzles. It was hard to find
her at first: because she was buried be-
neath a huge mound of papers which
turned out to be all the editions of
every newspaper in New York.

J HAVE come back from Kurope so
quick because I am there only one
week when I get homesick for America.
Mr. Gilbert, he come back, too—but we
are only good friends,” she told me.

“Of course I am not thinking of mar-
rying him—i never think of marrying
anybody. Even when Gary and I we
were so much in love, I never plan to
marry him. Always it was just that
we not look to the future. We never
try to think of next day or next week
or next year. We just look at each
other and say, ‘How much fun we have
together!’

“Then, after we have gone together
for three years I know that I am tired
of Gary. I loved him very much—I
still love him in a way and always I
will love him.

“Tf ever Gary should get sick or need
me I would go to him no matter where
he might be. If I have no money, I
sell everything I own to go to him. But
love him again? Have a romance with
him again?

“No, no!

“Have you ever cooked an egg and
then not eaten it for a while? Then,
how does it taste? Is it good, if you
warm it up later? No! And that is
the way it is with love! After love is
once done, it cannot be warmed again.

“ MN NOTHER THING: Gary he has
changed lately. I had not spoken
to him for six months. When I came
East on my way to Europe I saw
him. . . . He was not the same Gary.
He used to be so wonderful, so sweet.
(Please turn to page 91)

does the SOCIETY

TINTED o@ NATURAL..?

oman wear natl Lips

Both! She varies her polish

with her gown, using all colors

from palest to deepest...says

world’s authority on manicure

Natural just slightly emphasizes the soft
natural pink of your nails. It goes with every
one of your costumes but is best with bright
colors — bright red, bright blue, bright green,
the new purples, orange and yellow. Natural
is the most popular tint today.
e

Roseisa lovely feminine shade that you can
wear with any color dress, pale or vivid. Blondes

often prefer it to all other shades. It is charm-

ing with pastel pinks, blues, lavender ... with
hunter green, black and brown.
@

Coral nails are bewilderingly lovely with
white, pale pink, beige, gray, black and dark
brown—either wool daytime dresses or satin
evening frocks. Wear it also with deeper colors
(except red) if not too intense.

e
Colorless is conservatively correct at any
time. Wear it with bright or difficult colors.

Wear Rose nail tips with black veluet—Natural with brocaded lamé—Coral to accent white satin... Gowns from Bergdorf Goodman

To tint or Nor To TINT... any
really smart society lady would sniff—
smartly, of course—at such a narrow
point of view.

The instant she saw the new nail shades
she realized that the big idea was Variety.
She decided that from now on one nail
polish was just going to be the beginning!

She suited her actions to her words and
now you can only guess what color nails
she'll appear in if you know what color
frock she’s going to wear. Which she
knows very well simply makes her more
alluring and devastating both day and
evening.

So mr you want to keep up with
“Smart Society,” get out your wardrobe
and decide right now what nail tint you’ll
wear with which frock. See how much

Interest the oldest rag has with new nails!

It’s easy. Just think of them like jewels.
You don’t wear rubies with a green dress,
but they’d be elegant with white—if you
had any rubies. Anyway, it’s all worked
out for you by an expert in the chart above.

Bur pon’t Be so carried away
with the new colors that you forget qual-
ity counts. Cutex Liquid Polish simply
hasn’t a flaw. The old coat never leaves
behind the faintest stain of color. The
new coat flows on in a smooth even sheen,
and dries practically instantly. It’s safe
from all temptation to peel, crack, streak
or fade. And is blessed with an ability to
glitter and gleam for days on end, when
you’re too lazy or rushed to change it.

Pick your favorite shades today. Two

shades are enough to start with, a light
one and a deep one. When you see how
fascinating it is to suit your polish to each
gown, you'll keep all four Cutex shades
in use!

Follow this easy Cutex Manicure . . .

First, scrub the nails. Then remove the old
lifeless cuticle and cleanse beneath the nail tips
with Cutex Cuticle Remover & Nail Cleanser.
Now remove the old polish with Cutex Liquid
Polish Remover. Finally, brush on one of the
lovely shades of Cutex Liquid Polish—the
shade that best suits your costume, your per-
sonality. You can choose from Natural and
Colorless ...from Rose and from Coral. End
with a touch of Cutex Nail White, Pencil or
Cream, under nail tips for accent. Before re-
tiring, use Cutex Cuticle Oil or Cream to
soften the cuticle.

NortHaM WARREN - New York- London: Paris

CUTEX LIQUID POLISH

The New Movie Magazine, February, 1932

SHARPS and FLATS of the Films

iter

Music of the Sound Screen—Eddie Cantor
Signed for Five Years—Pola Negri to
Sing—Paul Whiteman Again

By John Edgar Weir

OW about a trip to Paradise with no less person than Pola
Negri? Pola herself will tell you all about it in the theme
song which she sings, “I’ll Take You to Paradise,” in her
first talking picture for RKO-Pathe, tentatively called “A

Woman Commands.”

FPDIE CANTOR, whose hit in “Whoopee” is largely responsible
for the return of musical pictures, has just been signed to a
five-year contract by Samuel Goldwyn. Hollywood scouts say to get
ready for a new burst of melody from the coast.

Four new George Gershwin songs will be featured in the new
Fox musical with Janet Gaynor and Charles Farrell, whose working
title is “Delicious.”

‘THE old king of jazz, Paul Whiteman, leads the list this month

with a number from the new M-G-M talkie, “The Cuban Love
Song.” It’s a waltz made from the title. As Dorothy Fields and
Jimmy McHugh wrote the numbers for this picture you can rest
assured the tunes are all they should be. And you'll approve of this
recording for it’s one of the best waltzes Whiteman has turned out
in along time. I think you’ll find the first chorus of this record the
best, with the muted brass taking the melody and the sax change.
The vocal chorus is done for us by Jack Fulton and the Romancers.
The other side is also by Paul, and this (Please turn to page 121)

Lawrence Tibbett and Lupe Velez in a
scene from “ihe Cuban Love Song." In
this picture Mr. Tibbett sings three songs
—'"Cuban Love Song," "Peanut Vendor,"
and "Tramps at Sea.”

The New Movie Magazine, February, 1932

Way pay a dollar or more for
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get the same results yourself, for a fraction of the cost?

With this new Sta-Bac Combination Beauty Set (shown
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Thousands of girls, all over the United States, already
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The attractive Combination Set is for the purpose of
introducing to these present users—and thousands of
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Sta-Bac Curl Set is the perfect waving fluid for either
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PREPARATIONS

The Secret of Lovely Lustrous Hazr

The New Movie Magazine, February, 1932

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JOAN

ells How She y
Keeps Slender

HEN Joan Crawford orders

a dinner in her latest Metro-

Goldwyn-Mayer picture, “‘Po-

session,” she does it with the
right gesture—for, since her mar-
riage, she has been in the habit of
selecting all the dishes for her house-
hold.

While her picture menu includes
such intricate dishes as caviar—
creme de Champignons—sole Mar-
guery—Poitrine de Pintade Truffée
and a soufflé—her own menus list
more simple dishes—planned with a
thought of keeping the Crawford
figure in trim for her picture roles.

One of her rigid rules is in passing
up all food for breakfast—excepting
a large glass of water and a cup of
coffee.

Her daily luncheon is restricted to
one salad—these salads varying from fruits to
vegetables.

On the day she outlined this weekly menu she listed
some special dishes for the first day of the week—as
this occasion was for a special dinner party. They
follow:

Cream of asparagus soup

Triskets (a tiny wafer of shredded wheat)

Mountain trout with tartar sauce

Small cucumber sandwiches

Individual filet mignon with mushrooms

Au gratin potatoes

Peas

Salad Francaise with Swedish wafers

Vanilla ice cream with chocolate sauce

Angel food cake—coffee

(Of these dishes Miss Crawford assures us that the
sandwiches, the potatoes, the ice cream and cake were
passed up by her.)

Here is her menu for the rest of the week:

Tuesday dinner: Tomato soup—lamb chops—corn
aie tomate ring with cottage cheese—baked apple—
coffee.

Wednesday dinner: Pea soup—salad (green)—jello
—coffee.

Thursday dinner: Half of cantaloupe—carrots—
green salad—fruit compote—coftfee.

Friday dinner: Cold consommé—fried chicken—
buttered beets—pear and cream cheese salad—soufflé—
coffee.

Satunday. dinner: Celery—cold meat cuts—iced coffee
—Jello.

Hurrell

Joan Crawford eats no breakfast
and little lunch, but her dinners
are models to follow

Sunday night supper (cook’s night out): Ordered
from menu, cocktail—fresh crab—salad—stuffed tomato
—fried egg plant—baked apple—coffee.

N choosing these daily menus Miss Crawford is guided

by the amount of work she has scheduled—a lighter
repast being selected for the days when her work is
strenuous. She also knows her vitamins—recognizing
the value of cheese and green vegetables in supplying
the vitamin A which helps to prevent colds. Vitamin
B, a preserver of nerve health, is procured in lettuce
and in the Swedish and Trisket wafers which contain
grains.

Oranges and grapefruit, tomatoes, watercress, spin-
ach, turnips and green peppers contain the valuable
vitamin C—which is a blood food: Green vegetables,
an important item in her food schedule, also contain
the vitamin G which warrants a healthful, clear skin
condition.

Her breakfasts and lunches would not be sufficient
for the ordinary person but Joan must keep down to
the shadow-slim figure required for filming. Doug
Fairbanks, Jr., of course, can pick up a bit here and
there at lunch time and breakfast—but he too must
keep in trim for his own movie work.

The New Movie Magazine, February, 1932

;

Savory Meat Loaf
Lima Beans Fried Fresh Tomatoes
Baked Potatoes
Crullers or Doughnuts
Applesauce or Stewed Fruit

You Will Be
Proud to Serve

JN this little book, “44 Easy, Economical Dinners” you will
find the answer to that perplexing duestion—what in the

Bacon and Cheese Canapés
Broiled Fish
Asparagus with Melted Butter
Mashed Potatoes
Pear Salad with Ginger Sauce
Crackers

world will I serve to-day?

Every menu is a complete and delightfully different dinner.

The recipes are given for the main dishes. You will find

them easy to follow with perfect success.

Fruit Cup
Pot Roast of Beef _
Corn-on-the-Cob or Canned Corn
Mexican Tomatoes
Mashed Potatoes
Cottage Pudding Cocoa Hard Sauce

Easy to prepare, economical, healthful and tempting, you will

want to serve every menu in the book—and then serve them

all over again—with variations.

If you do not find this book—“44 Easy, Economical Din-
ners’—in your favorite Woolworth store, send us ten
cents, plus three cents postage, and we will mail it to
you promptly.

TOWER BOOKS, Ine.

55 Fifth Avenue, New York, N. Y.

The New Movie Magazine, February, 1932 1

Real Lowdown on Mickey Mouse

VES people have marveled at the
way the young Walter Disney has
kept his head, remaining quiet and re-
served, despite his financial success
through Mickey and the Silly Sym-
phony. After one has met his parents
the source of his pleasing nature be-
comes clear. The elder Disneys are
just “ordinary” folk, who enjoy a
pleasant chat with a neighbor or
friend. The home is as modest as the
demeanor of the couple. They are the
kind of people who make you feel ‘at
home” and make you want to go back
to see them again.

One would never guess they are
forebears of such a famous son and
grandchild. They are proud, to be
sure, but are not of the bragging kind.
Ruth, who was Walter’s inseparable
pal in younger days, has the same
quiet, unassuming disposition as her
parents. She is a stenographer in the
Portland office of the government
Bureau of Roads. She smilingly recalls
some of the pranks she and Walter
engineered when they were children.

There was the time, for instance,

(Continued from page 11)

when she helped Walter dress in his
mother’s clothes. Mrs. Disney, enter-
ing her home after the transformation
was completed, was surprised to find
a strange woman in her home with
Ruth. Then she recognized her best
dress.

Mickey Mouse, who is now known in
every capital in the world, is really
the animal version of Charlie Chaplin,
according to Grandma Disney. Chap-
lin, by the way, is an ardent Mickey
Mouse and Silly Symphony fan. An-
other screen admirer of Mickey is
Mary Pickford, who leases each new
release of Disney films for showing in
her private theater. Miss Pickford
once told Disney that Mickey was her
favorite actor—not even barring her
famous husband, Douglas Fairbanks.

“When we first lived in Kansas City
our home was near a barber shop and
Walter used to draw a picture a week
for a haircut,’ Mrs. Disney said. “It
was placed in the shop window and at-
tracted much attention. When he
didn’t need a haircut, he would collect
25 cents.”

ALTER attended art schools in

Chicago and Kansas City, finan-
cing a part of his expenses from in-
come realized from his drawings. His
father advanced what other money was
needed.

“While the war was on we lived
in Chicago where there was a short-
age of mail carriers,” the father re-
lated. “Walter was 16 years old and
applied for a job. When asked his
age, he said he was 17. He was in-
formed he was too young. Undaunted,
he went home, changed his clothes and
put on makeup to gain an older ap-
pearance. He returned and applied
for the job again, giving his age as
18. He landed the position.

“A few months later he ran away
with a boy chum to join the army.
The chum wore glasses and could not
be accepted, so neither joined. Instead
they joined the Red Cross unit and left
the United States the day the Armis-
tice was signed. They served in France
several months. On the trip going
over, Walter drew a picture of the cap-

(Please turn to page 89)

Garbo's ''MATA HARI" Is One of Her Greatest

Greta Garbo and Ramon Novarro in a scene from "Mata Hari'

ee
" (M-G-

), a story of a Javanese half-caste

spy in the service of the German government whose career ends before a firing squad. Garbo immortalizes her
character part and makes one of the most powerful war dramas yet produced. Her ritualistic dance before the

God Kali in an early sequence is one of the beautiful episodes in the

picture.

Portrayals by Ramon Novarro,

Lionel Barrymore, Lewis Stone and C. Henry Gordon are excellent. This picture, directed by George Fitzmaurice,
is easily one of Garbo's best, and leaves an indelible impression that she is the screen's most sincere artist.

The New Movie Magazine, February, 1932

The Woman of

Tears

(Continued from page 8)

over again. First the director’s way.
Then her way.

The picture completed, Mr. and Mrs.
MacArthur did some plain talking to
each other. They decided the picture
was a disaster. It ought to be made
over. This would cost a lot of money.
Well, Helen would do it all over again.
At no salary.

By now the word was being circu-
lated that the Helen Hayes’ picture
was a disappointment—the report
might have started from some dispar-
aging remark of Helen or Charlie.

Helen Hayes returned to New York
to start rehearsals for a stage appear-
ance... and await the verdict of the
public on her picture. Everyone by
now knows the verdict. People stormed
the theaters. They indulged in an
emotional holiday. They wept their
approval, and went home realizing they
had seen one of the few really great
performances in screen history.

But the supreme triumph was when
Charlie MacArthur went to see the pic-
ture and his wife made him actually
ery—MacArthur, the guy who helped
write “Front Page.” And has cloven
hoofs. And is a minister’s son. Who-
ever heard of anyone ever making a
minister’s son weep? It actually hap-
pened.

Producers, who had loaned Miss
Hayes for “Arrowsmith” and held an
option on her future, suddenly began
pleading over long distance telephone
with her—they begged her to forget
the stage and hurry back to Hollywood.
But she would not desert the theater
which she had known since she was a
child of six in Washington, D. C. She
agreed to divide her time equally be-
tween studio and theater. She will
return to Hollywood in the Spring.

Helen Hayes was undoubtedly born
to act—just as surely as some children
are born with an amazing instinct for
mathematics or music.

Her voice has a timbre which affects
people mysteriously just as a certain
note, played on a violin, will sway a
bridge.

She has strange magnetism. Pick-
ford and Gish possessed some of this
mysterious quality on the silent screen.
' The danger for Miss Hayes in pic-
tures is that she may be placed under
the authority of too good a director—
someone who has more confidence in
his own interpretation than in the in-
stinctively true interpretation that
Helen Hayes is invariably capable’ of
giving. Time after-time she has been
permitted to do a scene her way, after
it has been done in the manner _ indi-
cated by a director. And her way is
always so sure, and simple, and true.
This has been apparent almost since
she was a child, doing roles in stock.
Lew Fields saw her. He called on the
mother.

“Wish you would bring the child to
New York, ” he said. “Ill find a place
, for her.” So she appeared in “Old
Dutch,” when Fields was soaring high
in the theater.

As the child grew older she tri-
umphed in “Dear Brutus’ and “What
Every Woman Knows” and “To the
Ladies” and “Coquette,” “The Inspec-
tor General,” “Mr. Gilhooley” and
“Petticoat Influence. a
nar’s “The Good Fairy.”

The New Movie Magazine, February,

And now, Mol-

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Mary Pickford’s 10 Great

DeMille is a woman’s director. Vidor
and Brown, Vic Fleming and Alan
Dwan are men’s directors. Marshall
Neilan is a woman’s director. Brown
may be able to direct Greta Garbo and
not me. I have never had anything to
do with the direction of a picture. Mine
is a house divided. I have to stop pro-
ducing and go on and act and then get
to the business end.

Mr. Broun: Why aren’t there any
women directors?

Miss Pickrorp: The strain is too
great on a woman. I don’t thing she
is physically equipped to stand it.

Mr. Broun: Do you think she has
less executive capacity? There are lots
of women directing on the stage.

Miss PIcKForRD: Yes, but the hours
aren’t so long. In pictures it means
every day and every night. The world
doesn’t exist beyond those lights. Very
often for two weeks they work with-
out a day off.

Mr. Broun: Could women be as
superb directors as some of the men?

Miss PickrorD: The feminine mind,
I have found in pictures, runs a
little too much to detail and not the
general scheme of things. A man can
see the thing-as a whole. I think the
feminine note is necessary to a picture,
however, with a man collaborating with
her.

Mr. Broun: How about George Ar-
liss?

Miss PickForD: He is capable and a
fine actor. But it is on the shoulders
of people like Chaplin and Jannings
that the industry has rested. It’s been
because of them that it has gone on.
These other people have come in and
made good pictures. Miss Chatterton,
at the moment, doesn’t belong in the
same class with Chaplin or Douglas
Fairbanks. Swanson has not been con-
sistently successful. She failed and suc-
ceeded twice. Gilbert hasn’t come out
of his talkie slump. I think Mickey
Mouse is due for a very long and pros-
perous life.

Mr. BrouN: But you said that until
an artist has failed he cannot be great.

Miss Pickrorp: Until Minnie Mouse
runs off with another mouse we won’t
know just what sort of a man Mickey
is. It’s a surprising thing to me they
haven’t tried to start a scandal about
them before this.

Mr. Broun: Can you think of the
names of one or two superb artists on
the screen who have had no popular
success at all?

Miss PickrorD: There is one not con-
sidered a star. I think he’s a real
artist, and that’s Jean Hersholt. He’s
never twice alike and his make-up is
always different. Chic Sale once said
in a talk to some school children that
his make-ups are in the inside and not
the outside. That to me is real artistry.
And Hersholt has that. He had a part
in Von Stroheim’s “Greed,” in “Stella

(Continued from page 29)

Dallas” and played with Douglas in
“Don Q.” When I was doing “Tess of
the Storm Country,” I wanted a
brute, someone with a heavy underlip
and a dreadful face. I interviewed a
lot of men, and it’s very difficult for
me to turn people away. One day, some
one came to me and said:

“Miss Pickford, there’s a man outside
anxious to see you. He’s been waiting
all day long and won’t take ‘no’ for an
answer.”

I saw him. It was Jean Hersholt.
“But,” I said, “you have a lovely face
ang kind eyes. I’m sorry, you won’t

Osa

“Just give me a chance,” he replied,
“twenty minutes?”

“Why, yes. But you know what type
of part this is. The man is absolutely
a beast.”

He went upstairs and I proceeded to
forget all about him in the meantime.
I was talking about the baby that we

We Have Made
Pictures More

Complicated, Says
Mary. We're Deal-
ing With Two Facul-
ties—Sight and
Hearing—Where
Before We Only
Had One To Please

were going to use in the picture. Then
suddenly this face came out of the cor-
ner and actually frightened me, it was
so terrible. Of course he got the part
and from that has gone on in pictures.

Miss PickFrorD: Well, first let me
tell you the pictures which I think are
the best. They are: “Seventh Heaven,”
“Cimarron,” “Birth of a Nation,”
“Over the Hill,” ‘Three Musketeers,”
“The Kid,” “The Freshman,” “Big Pa-
rade,” “What Price Glory?”
Hood,” ‘Beau Geste,” “All Quiet on
the Western Front.”

What about “Tol’able
I always liked that.

R. BRouUN:
David’?

Miss PIcKFORD: Yes, that was a good
picture. But I was mad about “Three
Musketeers.” Also, I think “Robin
Hood” one of the finest ever done.

Mr. Broun:
thoroughly converted to the talking pic-
tures, or have you some affection left
for the silent ones?

“Robin ©

Miss Pickford, are you ©

Film Stars

Miss PICKFORD: I enjoy much more
doing talkies, but would rather see the
silent pictures.

Mr. Broun: I am completely con-
verted to the talkies now. But I wasn’t
so much in the beginning. And the
silent ones sometimes puzzled me.

Miss Pickrorp: I think we have dis-
tinctly lost something. Instead of sim-
plifying things we have made them
more complicated. The ultimate goal
in all forms of art is directness. In
the silent pictures we left more to the
imagination of the audience.

Mr. Broun: You mean, I suppose,
that here, for instance, is a love scene,
not spoken. And if you use your imag-
ination you can have the scene in-
terpreted in whatever phases you like.
Spoken it may not be just what your
imagination dictates. If you take it in
the form of a mood it may be more ex-
citing. Two people may look at each
other in a way which cannot be ex-
pressed.

Miss PickFrorp: Exactly. And now
we are dealing with two faculties—
sight and hearing; whereas before we
had only one to please.

Mr. BrouN: Why do you think the
talking pictures seem at the moment to
have conquered the silent pictures? Is
there a chance that the silent ones will
come back?

Mzs PICKFORD: I am hoping we will
compromise, which we haven’t
done as yet. First of all, Warner Bros.
caught the rest of the industry napping.
And they, in their hurry and excite-
ment to get equipment in, hadn’t much
time to think of their stories and took
many things from the theater. I in-
variably see the ghost, in every picture,
of the proscenium arch, the footlights
and the wings. Gone are the days of
movement. I resent very much two
people standing up for a long time and
talking to me. It is poor work on the
part of either the adapter or the di-
rector.

Mr. Broun: You mean that even in
pictures the chief charm lies in move-
ment and action?

Miss PickrorpD: That’s our great
privilege. The theater, of necessity,

must crowd everything within three

walls.

Mr. Broun: That’s a familiar thing
about the theater. The playwright tears
down the fourth wall. The silent pic-
ture tore down all four walls. I think
it’s a mistake to take a play which has
to be devised for three sets. Say, a
man leaves the room, he’s gone, and you
know he’s rushing to the hospital to see
his dying mother, but you don’t know
what he’s doing on his way, what he’s
thinking about.

Miss PICKFORD:
In writing plays haven’t you noticed
there are always things that remain
vague? I have seen plays changed en-
tirely and yet there will be bits of

scenes that were placed in the original —

for some reason, of no use to the pic-
(Please turn to page 93)

The New Movie Magazine, February, 1932

That’s the mistake. |

SoS! eee

tee

ASD oS he eh ee

HS ©

The Bandwagon

(Continued from page 76)

He has work too hard—

“Now I am free! Nothing matters
to me but my work. I am go into the
new Ziegfeld show—I sign the contract
today. I will laugh and sing and be
happy. I must always be happy.

“Nothing is worth being unhappy
about. It is so silly for peoples to
worry about the future. The future is
made out for us and we must follow the
hand of Destiny. So, we must live each
day, even each five minutes, just to be

appy.

“That is what I do!”

And with a languorous wave of her
hand, Lupe lay back further among her
cushions and puffed rapidly on her
cigarette. It was a changed Lupe—
but an adorable one, as always.

INTERESTING BUT TOO
SLOW: Don’t despair. You may
still see the love life of a pair of
snails on the screen. The New
York censors deleted the scene but
the producers are appealing.

E NOMINATE GARBO: Holly-

wood may not get its name on
the United States postmarks but the
new reapportionment gives the picture
town (15th district) its own repre-
sentative in Congress.

OAN AND GENE: When Joan Ben-

nett made her first public appear-
ance following a three months’ confine-
ment with her broken hip in a plaster
cast, she was escorted by none other
than Hollywood’s beau of the moment
(a moment with this one and a mo-
ment with that one), Gene Markey.
And it was Beau Gene who lingered
longer than any of the others who were

- at the pier to bid farewell to the fair

Joan.

And when Joan broadcast over the
radio from Havana, it was Gene who
listened in with “Ditty,” Joan’s little
daughter—seldom known as Adrienne
—who got a tremendous kick out of
hearing her mother’s voice on the air.

Joan came on to New York and spent
a giddy week, starting off on the day
of her arrival with a luncheon given
in her honor by his honor, the Mayor,
James J. Walker. The Mayor beau-ed
her to the Mayfair dance that night.

The youngest of the Bennetts seems
to have benefited by her enforced rest.
She looked beautiful and very gay, and
the broken hip was mended perfectly
and completely.

She admitted with a downward droop
of the eyelashes to finding Gene Mar-
key, Hollywood’s Casanova, the most
charming man of the moment.

Joan’s visit was brief for two rea-
sons—one, her sister Constance’s wed-
ding, and the other—Fox Studios calling
for her services.

OME NECKING! That sable which
Loretta Young wears in “Hon. Mr.
Wong” cost $10,000.

OMEY NOTE: A French maid, for-
merly in the employ of Mr. and
Mrs. Richard Barthelmess, has joined
the great army of maids at liberty.
After being snubbed by several of
their neighbors, Mr. and Mrs. Barthel-
mess began snooping around to ascer-
tain the cause. They learned that the
maid had been suspending the Barthel-
mess family wash from a front ver-
anda of the star’s palatial residence.
(Please turn to page 94)

HAMPD

washed with ordinary soap.

onger a matter of luck.

Its life, its lustre .. . its alluring
loveliness . . . depend, almost entirely, up-
on the way you shampoo it.

A filmy coating of dust and dirt is con-
stantly forming on the hair. If allowed to
remain, it hides the life and lustre and the
hair then becomes dull and unattractive.

Only thorough shampooing will... re-
move this DINGY COATING and let the
sparkle and rich, natural COLOR TONES
of the hair show.

Why Ordinary Washing Fails

WYEULE your hair must have frequent
and regular washing to keep this coat-
ing removed, the careless practice of rub-
bing a cake of soap over your hair...
(something hairdressers NEVER DO)...
invariably leaves small particles of undis-
solved soap on the hair, which dulls and
mars its beauty.

Besides—the hair cannot
stand the harsh effect of free
alkali, common in ordinary
soaps. The free alkali soon
dries the scalp, makes the hair
brittle and ruins it.

That is why thousands of
women, everywhere, who
value beautiful hair ... use
Mulsified Cocoanut Oil
Shampoo.

This clear, pure and entirely

greaseless product not only
cleanses the hair thoroughly,

Prentes aiattero beautiful hair isno
1

MULSIFIE

The New Movie Magazine, February, 1932

this way... gives your hair

New Beauty

Results are amazing! Your hair looks utterly different from hair

Costs only a few cents to use.

but is so mild and so pure that it cannot
possibly injure. It does not dry the scalp,
or make the hair brittle, no matter how
often you use it.

Saves Time—Costs Only A Few Cents

Awe or three teaspoonfuls of Mulsified
are sufficient for a quick and truly pro-
fessional shampoo at home—and it COSTS
ONLY A FEW CENTS TO USE. It
makes an abundance of . . . soft, rich,
creamy lather... with either hard or soft
water, which cleanses thoroughly and
rinses out easily, removing with it every
particle of dust, dirt and dandruff.

You will be amazed at the difference in
the appearance of your hair the VERY
FIRST TIME you use Mulsified, for it will
be ...so delightfully clean, soft and silky
...and so easy to set and manage.

The next time you wash your hair, try a
Mulsified shampoo. See for yourself, how
it brings out all the wave and
color and how... really beau-
tiful, bright and fresh-looking
... your hair will look. When
you see it shimmer with “new
life’ and sparkle with that
“sloss and lustre’’ which
everyone admires, you will
never again be content to wash
your hair with ordinary soap.

You can get Mulsified
Cocoanut Oil Shampoo at any
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world. A 4 oz. bottle should
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COCOANUT OIL
SHAMPOO

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LATE REVIEWS

(Continued from page 88)

COMPROMISED — War-
ner Bros.—Class C. The
oft-told tale of the rich
young man who marries
a poor girl and takes her
to his frigidaire home in
Boston. Eventually, the
wealthy youth cuts loose
from his blue - blooded
family and all is well.
There are moments of
genuine feeling as acted
by Ben Lyon and Rose
Hobart, also Claude Gil-
lingwater.

SURRENDER — Fox —
Class A. A picture which
tells the truth about the
war. <A_ spectacle for
soldiers as well as paci-
fists. Warner Baxter
takes advantage of a
splendid opportunity to
display his talent in the
role of an adventurous
and desperate prisoner
of war. Leila Hyams
completely satisfying in
love situations.

AROUND THE WORLD
IN 80 MINUTES —
United Artists—Class B.
Douglas Fairbanks and
his restless companions,
Victor Fleming, Chuck
Lewis and Henry Sharp,
furnish entertaining and
thrilling evidence of the
strange and beautiful
things in the world. Wise-
cracks by Doug and the
appearance of Mickey
Mouse in foreign lands
increase entertainment.

TONIGHT OR NEVER
—United Artists—Class
A. From David Belasco’s
success by Lili Hatvany.
Gloria Swanson with a
faultless cast of Melvin
Douglas, Alison Skip-
worth, Ferdinand Cot-
schalk and Robert Greig.
Swanson as the conti-
nental prima donna
gowned by Chanel of
Paris will attract every
clothes-conscious woman.
Lovely music, charming
play and excellent cast.
(Please turn to page 95)

The New Movie Magazine, February, 1932

i.
2
i

. stars of the screen.

Mary Pickford’s 10
Great Film Stars

(Continued from page 84)

ture, very often left in. That’s our dif-
ficulty in taking a story written for
the theater. The novel is much better
for pictures. But still, even that is
not ideal because it deals entirely in
words.

R. BROUN: One thing has always
puzzled me. I don’t see how the
farce and comedy pictures get along.
You can’t tell for certain where your
laugh is going to come in.

Miss Pickrorp: There has been a
lot of controversy in Hollywood as to
whether they should or shouldn’t wait
for laughs. The consensus of opinion
is that they shouldn’t.

Mr. Broun: Most people think that
for a comedy a certain sense of timing
is necessary; at least, let your laughs
get part of the way. You do have to
make those pauses. Will Rogers, for
instance, on the radio would tell his
gag and pause a second and put in his
own little laugh.

Miss Pickrorp: Mr. Ziegfeld once
said that Hollywood was ideal for plays
like “Whoopee.” You know where
the laughs come. But they differ. For
instance, I have noticed that a matinee
women’s audience is very different from
an evening audience. Women don’t
laugh as much. They are more respon-
sive to the dramatic and sympathetic
and love scenes. But not to comedy.

Mr. Broun: But the tragic or pa-
thetic scene is more universal. People
will cry at the same place, but not laugh
at the same place.

Miss PickFrorD: Then again, a friend
of mine went to two performances of a
recent comedy picture the other day.
At the six o’clock performance the audi-
ence was hilarious. And at the nine
o’clock show there wasn’t a laugh. But
then, you have to take into consider-
ation the physical condition of the audi-
ence. At nine o’clock many people are
a little tired.

Mr. Broun: And sometimes the au-
dience is not sufficiently well rehearsed.
You say that you like acting in the talk-
ing picuures better than in the silent
ones?

Miss PickFrorD: Well, in the last
three or four years, before talking pic-
tures had attained the technique they
now have, it was necessary to have
twelve or fourteen hundred set-ups and
the character had to go over and over
the same scene. It required twelve
to seventeen weeks to complete a pic-
ture. Now it is only necessary to have
250 set-ups as against 1400 before.

HOUGH I sat throughout the inter-

view as a novice learning wisdom,
I did go away feeling that the lady of
the interview had committed one tragic
and palpable blunder in choosing the
y It is an error
which even a schoolboy or an inter-
viewer should be able to correct.
_ The team as picked by her is wholly
incomplete. Another name must cer-
tainly be added. And I will take it
upon myself to add as quarter-back and
captain—Mary Pickford!

The New Movie Magazine, February,

MRS. ALBRIGHT
WANTS TO TELL YOU

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the dirt out in a hurry
and blues my clothes at
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Springfield, New Jersey

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‘La France has certainly been a
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La France is so easy to use: Just
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1932

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The Bandwagon—Garbo—
Joan—Skippy |

(Continued from page 91)

Dew THEN UP: Kathryn Craw-
ford won a six months’ contract
with M-G-M for reducing her weight
ten pounds in one week for a part in
“Flying High.” Now her friends think
she stepped on a bicycle pump because
she has regained the lost avoirdupois
with some extra chubbiness for good
measure.

UPID WAITS, BUT GETS WHAT

HE WANTS: Dorothy Mackaill and
Neil Miller believe in long marriage
delays. They took one out in Hono-
lulu and married in Yuma almost a year
later. That was because they were
waiting for Neil to land a good job
first, which he had just done at the
Embassy Club.

Dorothy was all packed for a trip to
Havana when love sold them the bill
of goods. After the ceremony they
flew back to Hollywood where Neil now
has something to sing about at the
Embassy Roof.

IVORCE DUE: Lowell Sherman and

Helene Costello are certainly sepa-
rated—and apparently no chance of a
reconciliation, according to Helene’s at-
torney, Milton M. Cohen. As we go
to press they are debating over a prop-
erty settlement and the divorcee should
be filed almost any day now.

There are tales going about—though
unconfirmed—that Sherman and his
brother-in-law, John Barrymore, had a
falling out a few months ago and that
Sherman forbade Helene to see her sis-
ter, Dolores; that Helene saw Dolores’
baby for the first time only when she
left Sherman.

You have to give Jackie
(Skippy) Cooper credit for helping
to make pictures clean.

In Paramount’s new Percy Cros-
by picture, “Sooky,” Jackie took
ten baths in one day, in accord-
ance with the demands of the
script.

AME AND MORE FAME: Fame
has its advantages as well as dis-
advantages.

Russell Gleason, who played in Uni-
versal’s “Homicide Squad,” with Mary
Brian, was stopped by a policeman for
driving through a traffic signal in’Holly-
wood. The cop scolded Gleason for that
sin and then demanded to see his
driver’s license. The actor searched
himself and then remembered that he
had left the license in the pocket of
another suit.

“How do I know you are Russell?”
sneered the cop.

Gleason was stumped for a moment
and began to see visions of jail. He
looked about for a friendly face in the
gathering crowd and finally spied a
billboard which announced his latest
film effort and displayed a likeness of
himself.

“There! There I am,” he exclaimed.
“That’s me! I’m me! See!”

This proof satisfied even a hard-boiled
Hollywood cop.

A BOY AND HIS DOG: Every boy
should have a dog....
Norma Shearer is a firm believer in

this homely doctrine. Now Irving Thal-
berg, Jr., shares his nursery with a
little white bull pup.

Because of a cold, Jimmy Du-
rante advised M-G-M officials that
he could not appear at a benefit to
sing because he was afraid he
wouldn’t be heard.

“As though that would make any
difference to a guy who sings
through that nose!” grumphed Al
Boasberg, the erstwhile poet laure-
ate of Malibu Beach.

Ro EEA EING GOOD SAMARITAN:
IN One man is in jail and a youth is
in custody of the juvenile court
authorities because of their attempt to
rob Elissa Landi’s home.

Elissa had befriended the boy, who
had come to her door begging food.

She had a room furnished above her
garage and told him he could remain
there while she went to Europe. A
friend arrived at the Landi home one
night to find the boy and a man moying
a huge trunk out of the house.

It contained Miss Landi’s clothing
and many articles the boy had pur-
chased from shops, paying for them
with forged checks.

1B ye eee GOING AHEAD: Do you
remember Dorothy Ward? She
was the girl who was discovered in a
Hollywood five-and-ten-cent store about
three years ago by Margaret Livings-
ton, recently married to Paul Whiteman.
Miss Livingston pointed the girl out to
Phyllis Haver, who got her a contract
with Pathe, where she was put in stock.
But she only lasted six months. She
was then only sixteen. Now she is
beginning to come up the ladder. Hal
Roach has signed her. Her first pic-
ture is “Love Pains,” and she is play-
ing with David Rollins, Mickey Daniels
and Mary Kornman, the last two being
graduates from Our Gang comedies,
which they outgrew.

Robert Coogan’s only bad film
habit is his continual dancing up
and down, which is not so good for
his photographer’s nerves.

Recently a hard scene had to be
shot in Paramount’s “Sooky,” and
speed was required. To keep Rob-
ert quiet, a@ cameraman ordered
Robert’s feet fastened to the
ground. Robert didn’t even blink
when a stage carpenter held a
huge spike over his shoe but when
the hammer was raised he said:

“Mister, would you mind nailing
between my toes?”

ELAYED ROMANCE: When Mar-
jorie Rambeau was at her peak,
playing in “Eyes of the World,” she
had a romance with Francis Gudger, a
Dupont official. They became engaged;
then the engagement was broken sud-
denly. No one—not even Marjorie
Rambeau’s best friends—ever knew the
reason, but they have always suspected
that it was her refusal to give up the
stage.
Then she married, first Willard Mack.
(Please turn to page 96)

The New Movie Magazine, February, 1932

LATE REVIEWS

HOLLYWOOD |
RECEPES

ERECIPES a]
Por the MOVIE STARS

Sa i

Class D. Story

WORKING GIRLS—Paramount—.

of working girls in

New York. Cast of Buddy Rogers,

Dorothy Hall (

above); Paul Lukas

and Judith Wood.

HUSBAND’S

) a
HOLIDAY — Para-

mount—Class B. This is satisfying
entertainment with cast giving ex-
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and Juliette

X MARKS TH

Class B. An

Compton, above.

E SPOT—Tifiany—

exceptionally well

done picture of big city newspaper

with Lew Cody (above) playing
the managing editor.

An intimate close-up
of the movie stars
you've always ad-
mired who get right
into cooking action in
their own Hollywood
homes.

Alice White says that “anyone can
be a good cook if she wants to."’ Just
to prove, too, how thoroughly she be-
lieves that woman's place is in the
kitchen, she shows us a picture of her-
self apron-clad ready to make her
favorite creamed chipped beef, a
recipe you'll find in this gay new
book, "Favorite Recipes of the Movie
Stars."

You learn how to make Chile Con
Carne the way Warner Baxter does
and if you can only look as pretty as
Mary Brian does when she makes
“Orange Circles," we confidently
predict a lot of heart interest in your
cooking career.

Forty-seven photographs. Forty-
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Why wait any
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ten cents plus
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hurry it to you.

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INCORPORATED
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| The New Movie Magazine, February, 1932

BY THE SIMPLE MAGIC OF
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long, lustrous, dark and curling fringe.

Best of all—the new Maybelline is
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good for the lashes; keeps them soft and
pliable. You’ll be amazed at the magic
of the new Maybelline—Black or
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The New

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coupon sent direct to use

EYELASH BEAUTIFIER

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| was working there,

The Bandwagon

(Continued from page 94)

then Hugh Dillman. But Gudger never
married; the actress seemed the love
of his life. With a great fortune, he
retired from business and settled on
an estate in Florida.

Fourteen years after his blasted ro-
mance with Marjorie, he went to Holly-
wood on a pleasure trip. Calling on a
business friend at the Metro-Goldwyn-
Mayer studio, he heard his former flame
ealled her, and
within twenty-four hours had proposed
and had been accepted. Now Marjorie,
who had not been the sensation in talk-
ing pictures that her abilities as an
actress would lead one to expect, is the
mistress of a great Florida estate, and
the Gudgers are soon to start building
a palace in Hollywood.

ND MARC: When William

Wrigley and John Hertz bought
into the Paramount company Ar-
thur Caesar said:

“With taxicabs and chewing gum
coming into the motion picture
business there is still a chance for
Caesar.”

EW BENNETT BACKGROUND:

Charles Farrell is doing Fox’s
“After Tomorrow” supported by Donald
Meek, Barbara Robbins and Josephine
Hull from the original cast. . . Con-
stance Bennett’s (Pathe) film about the
Russian Secret Service will be shot
under the knowing eye of Maj. Herbert
O. (international code expert) Yardley.
Constance will look even more beauti-
ful than usual, against that background
of Russian beards and codes and ci-
phers.

OREIGN NEWS DEPARTMENT:

Lil Dagover, Warner-First National
studio’s much press-agented and widely
exploited German importation to coun-
teract the Garbo-Dietrich-Elissa Landi
invasion, was a former resident of
Hollywood, after all.

When Paramount imported the great
German actor, Emil Jannings, to star
in “The Way of All Flesh,” Miss Dag-
over was shipped across the frantic
Atlantic to play opposite him in his
first picture and had a six months’
contract. However, we saw Phyllis
Haver in the lead when the picture
came out.

Miss Dagover spent six months pos-
ing in fashion pictures at the Para-
mount studio and then returned to her
native land. But don’t hold this against
her or her ability. It happens to the
best.

| POWID PAPA: Noah Beery, Jr., is to
make a series of Westerns. Papa
is to finance. Young Beery made quite
a reputation for himself in school dra-
matics.

MV [(CNEC OMI AT DEATH BED:
It was Robert Montgomery who
was asked for and remained at the bed-
side of Robert Williams until he was
called by death. Montgomery and
Williams were friends of the stage prior
to entering pictures, and had Bob Wil-
liams followed the advice of Bob Mont-
gomery and also his physician by
consenting to an operation when he was
first stricken, the screen might not
have lost one of its most promising
young actors.

The New Movie Magazine, February, 1932

TELLING THE JUDGE: B. H. (pro- ©
nounced Beeaitch) Rogers, Buddy’s
comparatively obscure brother whom
Paramount also hopes to convert
into an actor, and his brand new wife,
Maragen Helen Rogers, are going to
tell the judge about it.

Mrs. Rogers says Bh began staying
out late at night within two months
after their marriage. And he wasn’t
kept away from home by his work,
either, she says. .

In fact, he worked so little, she says,
she had to support herself.

HE A’S HAVE IT: Gertrude Astor

was recently awarded a $699 judg-
ment against Vivian Duncan Asther for
rent and alleged damages to her home.
That, at least, is keeping the money in
the profession.

Or OTHER: Because Johnny Weiss-
muller’s automobile was back East
and he was too busy working in a pic-
ture to go after it his wife, Bobby
Arnst, went to New York and drove the
ear all the way across the continent.

She arrived in Hollywood to be con-
fronted by a rumor that she and Johnny
were separated.

“And that’s the irony of something
or other,” said Mrs. Weissmuller.

INAFORE NOTE: Genevieve Tobin

dates her stage debut to the year
1924, but Genevieve’s professional life
started much earlier than that. She
sang the role of Josephine in an all-
children presentation of “Pinafore” at
the Casino Theatre, New York, about
1913. Her brother, George, played Sir
Walter Raleigh, in the same production.

OLA WITH PEN IN HAND: When

a certain great star finishes her
sereen career there will be published
some interesting and hot literature—
Pola Negri is writing her memoirs.

ICHARD ARLEN FREE-LANC-
ING: Upon completion of his con-
tract with Paramount, Richard Arlen
will free-lance. He has been with Para-
mount for eight years.

ISITING: James Rennie came on

from Hollywood to spend the holi-
days in New York with his wife, Dor-
othy Gish. She is appearing in “Streets
of New York.”

ICHARD NEVER FORGETS:

Only one newspaper in Holly-
wood got the official story of Rich-
ard Dix’s engagement to Winifred
Coe, because fourteen years ago
Richard promised its gossip writer
to give her an exclusive story the
minute a woman counted ten over
him. What a memory!

OR LOVE OF THE PRESS: And
what a night when all the lights of
moving picture stardom moved over to
the Cocoanut Grove, at the Ambassador
Hotel, to entertain the visiting pub-
lishers in a party given by the Los
Angeles publishers!

Frank Fay, screamingly funny, was
master of ceremonies.

The Baby Wampas stars were intro-
duced. Yes, again! (They’ll be char-
acter women by the time their debuts
are finally finished). Then two and one
half hours of good and varied enter-
tainment.

The Bandwagon

Maurice Chevalier sang several songs.
Will Rogers talked. Jeanette Mac-

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film and then did a dance.

Skeets Gallagher, Ginger Rogers,
Jack Holland and June Knight, all did
their best parlor tricks. Buddy Rogers
led the orchestra and played almost
every instrument init. Jimmy (“Schnoz-
zle”) Durante almost succeeded in
wrecking the place with his piano play-
ing and clowning. A million dollars’
worth of entertainment all in one eve-
ning.

3 Cie TO THE END: Hollywood
teams are sentimental. When Hardy
burned himself with a gas heater on
Wednesday, his buddy, Laurel, promptly
injured his right knee while making
retakes on Thursday. Laurel and Hardy
then played the doctors’ offices together.

DEED

“I certainly
appreciate your advis-
ing me about Lotus...”’

Peggy as Chef: Peggy Shannon
boiled some 480-minute eggs on the
set the other day and served them
to Charles Ruggles in a scene...
Ruggles almost lost his sense of
humor.

ONRAD IN TRADE: Conrad Nagel
has gone into trade—that is, as a
side-line.

The film star, who makes more pic-
tures a year than any other actor, has
opened his own market in Beverly Hills.

The opening rivalled any of Sid Grau-
man’s famous premieres.

Cars travelling up and down the busy
Wilshire Boulevard, stopped and parked
for blocks around, attracted by the
blaze of are lights. Music from a radio
created a gay atmosphere. A_ loud-
speaker announced that Mr. Conrad
Nagel, film star, was the owner, inter-
spersed with listings of the amazingly
low prices of the various foodstuffs.

The affair had all the charm of the

old country fair. Conrad’s friends B i a
turned out in a body, and with market © convinced as millions of

baskets on arms—the store being a 1
glorified “Cash and Carry’”—they went other women. Go into F. W.

busily up one aisle and down the other,
getting in their winter supplies. Woolworth Stores, buy a pack-

One wag startled a preoccupied lady : P
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waltz?”

ELCOME AT FOLSOM: If Sylvia

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Booth has sent Sylvia a copy of his se Lotus Sanitar apkins sell 6 for n u are
new book, “Stealing Through Life.” Becau S y N IP aie 6 for 10c and yon

PITY THE LOT OF THE WoRKING- waited on by women clerks only in F. W. Woolworth’s Stores

MAN: A lot of people must have
thought that extra had a soft job in you Save Money and embarrassment.

“Ladies of the Big House”—sleeping
on a davenport all day while everybody

else was working around him. They
may be surprised to learn, therefore,
that the poor man actually had to go
home and rest every night, after work-

ing on that picture. The lights tired

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“The Glory Song” at his farewell (Bev- and Canada
erly Wilshire Hotel) party, before leav-
ing for his season with the Metropolitan

Oper h th , i :
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. : The New Movie Magazine, February, 1932 97

a | o

DURITY

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girls?

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Ever had the disappointment of donning
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Of course, heavy powdering will cover
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The Bandwagon

(Continued from page 97)

songs. Joan Crawford, Irene Purcell,
Cornelius Vanderbilt, Jr., Mr. and Mrs.
Rob Wagner and a hundred others were
there to wish him good luck.

LOSE-UP: Paul Lockwood, camera-

man, and Marjorie De Haven,
daughter of Carter and Flora DeHaven,
have been consulting the priest at the
Blessed Sacrament Church in Holly-
wood.

AUREEN IS TARZAN’S

SWEETIE: Only Ireland could
produce the love interest for “Tarzan,”
thought M-G-M. That’s why they
picked Maureen O’Sullivan to play op-
posite Johnny Weissmuller in that pic-
ture. ... The “Bad Girl” (James Dunn,
Sally Eilers and Minna Gombell) con-
bination will be together again in
“Dance Team”. ... Elissa Landi came
back from Europe to start on “Disillu-
sion,” a Fox original by William An-
thony McGuire.. . . Ben Lyon has been
given Robert Williams’ choice role in
Constance Bennett’s “Lady With a
Past”. ... Barbara Stanwyck plays a
young girl, a mother and an old woman
in Columbia’s “Forbidden.”

@ePps AND ENDS: Sam Goldwyn is
thinking of Eddie Cantor, Lily
Damita and Al Jolson for his spring
business clean-up, particularly the
“Sons o’ Guns” musical for Lily... .
George Arliss, who selects his own play-
ers, has rounded up the cast for “The
Man Who Played God”. . . . Dorothy
Stone has taken Universal screen tests.
Is Fred Stone’s musical comedy daugh-
ter going into the movies at last?....
John Barrymore has been signed to
help RKO-Radio fight the depression,
which makes it more expensive.

COOLER CONCESSION: Daisy
De Voe, now serving a sentence m
the Los Angeles county jail for
embezzling from Clara Bow, has
the ice cream concession in the wo-
men’s ward, according to our trusty
bastile reporter.

ME: LASKY IN PERSON: Para-
mount officials were giving Mon-
sieur Chevalier a welcome-home dinner
at the Astor Hotel in New York. Speech
time came around. Mr. Lasky rose.

“T was at the Cafe de Paris,’ he
said. “Mr. Chevalier was entertain-
ing—”

At this point he branched off into
something else and it took him quite
some time to pick up the thread of his
story. But he did. He resumed.

“T was at the Cafe de Paris. Mr.
Chevalier was singing that song
about—”

Again he deviated. Again he found
his way back. But the third time it
happened, he was completely lost. Turn-
ing to Georgie Jessel, the Master of
Ceremonies, he muttered in a hoarse
whisper, “Where was 1?”

Jessel stood up. “You were at the
Cafe de Paris. You’re Jesse Lasky.
This is the Astor.” He sat down.

Mr. Lasky’s speech finished in a howl
of applause.

OSEPH SANTLEY was in New

York trying to peddle his play,
“Malibu,” when he received word
his home at Malibu had been de-
stroyed by fire.

HE SHOW GOES ON: Marlene
Dietrich was knocked out on the
set of “The Shanghai Express.”

In one of those mob scenes, a door
was thrown open and caught her in the
middle of the back, stunning her. She
was lamed for a week or more. But
she refused to let them hold up pro-
duction. :

ND WORTH IT: Duncan Renaldo
says it has cost him $35,000 to
prove he was born in the United States.
His troubles started when he re-
turned from Africa with the ‘Trader
Horn” company and his wife, Susette,
opened up her legal guns on him and
Edwina Booth.

Lately, Renaldo has had to sell his
marvelous collection of trophies from
Africa, which he valued at $10,000, for
a mere $1500.

At present he is facing extradition
to New York on a charge of having
abandoned his wife and child. He has
just satisfied the government he is not
an alien.

GiupI0 STATISTICS: Hollywood film
extras invariably complain about
their unlucky breaks.

John Cromwell, directing “Rich Man’s
Folly,” for Paramount, surveyed a
group of one hundred atmosphere
players who were on his set. MHere’s
how they were spending their time:

Playing bridge—24.

Watching bridge game—8.

Sleeping—7.

Sitting and watching the star—2.

Studying the technique of director
and players—1.

P. S.—The studio press agent forgot
to tell us what the remainder of the
extras were doing. Maybe they were
looking for work.

[fase AND FURIOUS: Virginia Lee
Corbin and her husband, Teddy
Krol, broker, decided one afternoon at
one o’clock they would go to Europe.

At six o’clock they were en route east
—then discovered their bags and trunks
were not on the train.

After considerable scurrying around
and much telegraphing, Virginia’s
mother was able to put one of the bags
upon an airplane at midnight. It was
delivered to the train the next day at
El] Paso, Texas.

ER WORK TOO GOOD: One of the

most recent yarns to edify Holly-
wood concerns a certain young motion
picture aspirant whose female parent
happens to be a typical “movie ma-
ma.”
The young lady in question arrived in
the cinema capital with a nice role at
one of the larger studios tucked safely
in her stocking, having won it by virtue
of a successful season on the Great
White Way.

As soon as she started work before
the cameras, mamma also swung into
action, but in a different medium.

With a copy of “Bradstreet and Dun”
before her, mamma carefully selected
the name of the most influential citizen
of each and every town in the country
and forthwith wrote those worthy
burghers personal letters, signing dar-
ling daughter’s name, asking for an
honest and candid opinion of her work
in her forthcoming production.

(Please turn to page 122)

The New Movie Magazine, February, 1932

Dick
(Continued from page 61)

Bavaria. He is an inveterate New
Yorker and enjoys it at all seasons.
He likes six-day bicycle racing and
championship prize-fights. Sleeping is
one of his greatest pleasures and, un-
less production schedules interfere, he
will often sleep until noon.

He likes deep-sea fishing off the
Florida coast and in the Bahamas. In
all the six years he has been on the
Pacific coast he has done no fishing.
He likes to ride bicycles in Bermuda
and horseback in the Grand Canyon.
He likes old castles because they smack
of mystery and romance. He believes
vanity is at the bottom of most greut
achievements.

When he can he travels by boat
rather than by train. He has a passion
for football and none for major league
baseball. He likes old churches in
Mexico. He would rather have lived
in the youth of his parents—the latter
part of the nineteenth century—because
he believes life at that time was at-
tended with greater simplicity. He is,
however, glad that he was born early
enough to get a taste of it at the turn
of the centuries.

He believes that American life was
happier and more normal before pro-
hibition. He likes bullfighting, but the
spectacle always upsets him for hours
afterwards. When he was born there
was only one bridge across the East
River, the elevated railway was pulled
by steam engine, there was no subway,
and Delmonico’s and Sherry’s were in
their heyday. There was also a grand
eating place called Jack’s restaurant on
6th Avenue.

He believes the story to be the most
important thing in a picture. Regard-
less of star, director or cast—the mo-
tion picture stands or falls according
to the merits of the story. He prefers
a four-seasonal climate to perpetual
sunshine. His confidantes are few. Al-
though he is reticent and dislikes talk-
ing about himself he does a great deal
of thinking about himself.

H EK likes to hear Jascha Heifetz play
“The Girl With the Flaxen Hair”
by Debussy. At social gatherings or at
concerts he is always requesting the
great violinist to play this haunting
number. He is very critical of his own
work and knows when he has done a
fine job and when he has not. He
thinks the friendliest person in the
world is “Happy Pete” Econimedes at
the Sazarac Bar in Havana. He thinks
the worst examples of Americans are
those to be found in Europe.

He was once presented to Zayas, for-
mer president of Cuba. A special ap-
pointment made by his publicity man
and the entire conversation was be-
tween the press agent and the Cuban
executive. To this day Zayas does not
know who or what Barthelmess was.
He believes the most interesting groups
of people are to be seen in the casinos
of Monte Carlo, Havana and Agua Cali-
ente. He believes true sincerity is the
rarest of human virtues.

In the winter of 1925 he had a thrill-
ing solitary adventure. He slept on the
deck of a rum runner with a negro
erew and sailed from Santiago de Cuba
to Guantanimo Bay. In the bay he
boarded the U. S. S. New York as the
guest of the Navy. At that time his

(Please turn to page 101)

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BOX-OFFICE
CRITICS

Take a Bow, “Schnozzle”

Housatonic, Mass.

Hurray! Three cheers to M-G-M for
giving us “Schnozzle”! Gee, that Du-
rante fella sure is a
dandy. Boy! I think
he’s a great guy.
Migosh—I absolutely
forgot that it was a
picture I was leoking
at—and that I had
a “young lady’s” out-
fit on—I roared like
a kid! Now please,
M-G-M, don’t hide
Jimmy behind a
Hollywood ash can,
but put him in your pictures—and have
him do plenty of singing!

Stella A, Gaykowski

A Punch and Some Pats
Saskatoon, Can.

You

magazine.

certainly have a wonderful
I have never missed an issue
for the last year and
a half.

Now for the pur-
pose of my letter—
Jean Harlowe, Her
presence has ruined
two otherwise per-
fectly good pictures
for me, namely—
“Hell’s Angels” and
“Tron Man’’.
other players in

; these pictures por-
trayed their roles particularly well but
“»olatinum blonde” spoiled everything.

Barbara ‘Stanwyck has earned ac-
claim for her acting in “The Miracle
Woman” opposite David Manners and
in “Ten Cents a Dance” with Monroe
Owsley and Ricardo Cortez.

Madge Evans deserves a big hand.
She gave sterling performances in
“Sporting Blood” and “Son of India.”

And I ean only agree with all the
rest that Clark Gable is a real find.
Norah M. Kinsby,

436 Ave. I., N.

We Think So,

Too
Brooklyn, N. Y.

At last! <A star
who can really act
and at the same time
is really sincere.
After seeing “Bad

Girl,” I take my hat
off to James Dunn,
the versatile young
man of Fox’s excel-
lent production.

show up
some of Holly-

can

wood’s’ biggest

Sally Eilers deserves a lot of praise
for her role and I think that Fox has a
pair of stars that will bear watching
for some time.

Barnard Gartlir,
270 Ocean Parkway.

Is Yo’ Sorry, Herb?
Beaumont, Texas
Mr. Herb Howe, please be duly
ashamed of yo’ ignorance for suggest-
ing that Garbo is copying anyone else
in filming “Mata
i Don’t you
know this story was
written for her long
before “Dishonored”’
was even thought
of as an offset pic-
ture for Mar-lay-
nah?

Anyway, Greta
will be absolutely
divine in it, and
with Novarro as co-
star and romantic

lead!—Make it
snappy, Mr. Producers—we can’t wait
to see it.

Zelma Smith,
759 3rd Street.

Short, But Snappy
Hartford, Conn.

She’s lovely, she’s talented, she’s gor-
geous, she’s an actress—Myrna Loy.
She’s scored again in “Transatlantic.”

Elsie Kirstine Wayland,
327 New Park Avenue.

Comparing Tallulah
Washington, D. C.

Three cheers! Tallulah Bankhead.
Despite two poor stories, this talented
star showed the world that she can act.
She has the fire of a B& =
true artist, her voice
fascinates one and
she can sing, too.
She is a combination
of Dietrich, Garbo

and Landi. I have
seen “Tarnished
Lady” and “My

Sin,” each six times
and expect to see
them again.
We’ve gone Garbo and we’ve gone
Dietrich, come on fans let’s go Tallulah.
Norma Cobb,
125 Monroe N. W.

Zasu for Depression
Canton, Ohio. ; ‘

Why won’t some one give winsome
little Zasu Pitts something really worth
while? She is in a class all by herself
and far too
good to portray
her usual run

THE NEW MOVIE MAGAZINE pays one
dollar for every interesting and con-
structive letter published. Address your
communications to A-Dollar-for-Your-
Thoughts, THE NEW MOVIE MAGAZINE,
55 Fifth Avenue, New York City.

of roles such as
lady’s - maid,
nurse, et cetera,
et cetera.

Had the plea-
sure of seeing
(Please turn te

page 115)

stars and with
plenty to spare.
His perform-
ance, while
maybe not
letter-per fect,
was a true por-
trayal.

5c and 10c Stores

100 The New Movie Magazine, February, 1932

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Dick

(Continued from page 99)

home was on 92nd Street, New York,
and the warship deposited him almost
at his door, docking at 96th St. He
believes that happiness and success are
not synonymous and that few (if
any) persons really know what they
want.

He was presented to his wife aboard
the S.S. France while en route to Paris
in 1926. It was his first trip abroad
and he was accompanied by - Georges
Carpentier, Jascha Heifetz and the au-
thor of this tale. It was on this trip
that Heifetz brought out his violin one
night about four A. M. and played for
us in a dark cabin while the moonlight
filtered through a porthole. He be-
lieves the task of intelligent thinking
the most arduous of human acts.

His most enjoyable walk was through
the California redwoods at the Bo-
hemian Grove. He prefers girls he met
at college whom he used to take to the
germans and cotillions to the wise-
cracking, gin-drinking types of today.
He likes to watch but not participate
in Winter sports. He works hard, plays
hard and rests “hard.” He has pleas-
ant memories of Alfredo’s little res-
taurant in Rome where they serve fine
noodles. He considers it more selfish
to compel one to accede to one’s wishes
than to do exactly as you yourself wish.

eX Jersey City, in 1924, while riding
with a friend, his companion was
stopped by a motor cop for not obeying
a signal. When the cop discovered the
identity of Barthelmess he insisted on
making a beaw geste because his wife
was an ardent Barthelmess fan. The
officer’s gesture was to act as a motor-
cycle escort and guide the two men as
his guests to a place where they were
served excellent beer of the non-near
variety. He believes the greatest plea-
sures are spontaneous and not care-
fully planned.

One of his happiest recollections is
driving with Mrs. Barthelmess from
Salzburg to Konigsee in the Tyrol
through a terrific snowstorm. They
had an unforgettable luncheon on the
way ina small country inn. They were
the only guests there and he never tires
of mentioning this incident, and yet
he cannot remember what he ate. In
an argument he is headstrong and stub-
born because he will not argue until
he is sure of his point. Once he lost
a big bet because he stubbornly in-
sisted that ‘‘Cashel Byron’s Profession”’
was not written by George Bernard
Shaw. He was under the impression
that the profession attributed to Mrs.
Warren was the only one Mr. Shaw
had in mind. He believes most human
acts are governed by impulse—logic
and reason being brought in only as an
afterthought and as a personal justi-
fication.

He believes nothing is quite what it
seems. Vastness does not influence his
judgment of a thing of beauty; mere
bigness is not a sufficient indication of
aesthetic value. His wife and he will
make friendly wagers on _ sporting
events and he will invariably lose to
her. He believes that chance and cir-
cumstance play a more important part
in our destinies than our most elaborate
plans. He believes the only compensa-
tion for life is children; the continuity
of ourselves which makes work seem
profitable; the future which makes
struggle seen tess futile.

The New Movie Magazine, February, 1932

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A Answering Mr. Dreiser

(Continued from page 44)

Front Page,” “All Quiet on the West-
ern Front,” “Cimarron” and many
others.

I do not understand why Mr. Dreiser
should object to the subject of sex, since
it is the basis of almost all great liter-
ary work, including his own “Ameri-
can Tragedy.” Sensuality is another
matter entirely and is systematically
more frowned upon in pictures than in
any other form of entertainment or ar-
tistic expression—much to the surprise
of veteran hard-boiled stage sinners
like myself.

Mr. Dreiser’s statement that Holly-
wood offers nothing but hokum is a
very broad one, but in the main I
must admit that it has truth behind
it. Pictures, however, are not made
for the discerning few but for the
great majority who look for easy dis-
traction.

When Mr. Dreiser states that Holly-
wood has no interest in encouraging
people to think he touches upon a very
vital question. Hollywood shares a
very popular belief that people do not

like to think, and to me the greatest
weakness of pictures is that the pro-
ducers are continually underestimating
the intelligence of the motion picture
public. Unfortunately, past financial
disasters have been largely responsible
for this belief.

The only menace I can see in Holly-
wood lies in the unscrupulous exploita-
tion of a legendary glamor. It seems
to me that the responsibility of the mo-
tion picture producers towards their
public is to provide as honestly as they
know how a constant stream of enter-
tainment which shall not disappoint
their patrons. No one can say that
they have failed therein. And to my
knowledge there do exist individuals
who are aiming conscientiously at
something higher than just that.

Finally, since I have to be brief, I
cannot help feeling that if Mr. Dreiser
finds it impossible to discuss motion
pictures seriously it would surely have
been better not to have discussed them
at all.

RUTH CHATTERTON.

Rex and Alice and Herb

(Continued from page 51)

however, was that, numerologically, it
did not vibrate to genius. Samaniego
didn’t either, but Ramon always added
a final “s.” By changing Navarro to
Novarro He found he still vibrated with
Booth, Beethoven, Shakespeare and the
Hollywood producers.

Rex and Ramon didn’t quarrel he-
cause Ramon wouldn’t. Sculptor Rex
found him more pliant clay than Val-
entino. Still no one could ever com-
pletely satisfy Rex’s vision of a
character. So now he’s doing his stuff
himself. He ought to be as good as
Valentino and Novarro because Alice
remembers all the things he used to
say to them and she’s handing. them
back to him—omitting the bad words,
of course.

(Next month: STAR WREAKS
VENGEANCE ON DIRECTOR.)

“Baroud”:
6 ae title of the picture thus far is
“Baroud.” It is not the name of
Rex’s character, though it would be ap-
propriate since it is Arabic for gun-
powder. The locale is the Atlas Moun-
tains of Morocco where the exteriors
are to be filmed. Rex plays a sergeant
of the Spahi. I have seen rushes, and
Rex looks like matinee business.
There’s no costume in the world so en-
nobling to a man as the Spahi burnous.
I know because I have one that I got
in Tunis. I only wear it behind locked
doors fearing to be seen outside lest
I be dragged into forced labor at some
studio.

Message from Garcia:
JN usual, Ingram’s company is a
racial cocktail. There’s a Rus-
sian playing an Arab who speaks En-
glish perfectly without understanding
a word of it. There is the old Arab
nurse played by Mme. Arabella Fields
(colored), of Memphis, who shouts
Arabic curses as eftcetnely as her old-
time spirituals.

And there is a glowing little thing
named Rosita Garcia from Cuba. She’s
a grand-daughter of the famous old
rebel Garcia—subject of “The Message
to Garcia.”

When Grandpa Garcia was taken
captive by the Spaniards he shot him-
self in the neck. The bullet passed
up through his brain and out through
his forehead. This in no way inter-
fered with him becoming president of
Cuba later.

The early Cuban postage stamps
bore his likeness, with the hole in the
forehead strongly marked. When In-
gram made “Where the Pavement
Ends” in Cuba he saw little Rosita and
insisted she play a bit in the picture.
She was eleven then. Every day she
was escorted to the studio by her
mother, her aunts and her uncles in
close formation. They knew about
Hollywood directors and the fate worse
than death.

Rex always counted her a discovery;
declared he would one day give her a
big part. The part is the leading role
opposite him in “Baroud.”

When she completes it she expects to
return to Liverpool, where her father is
now consul. I wouldn’t be surprised,
though, if she went on to Hollywood.
She no longer is escorted by the bat-
talion of close relations. She says she
is quite capable of taking care of her-
self. Neverthless, I warned her that
Hollywood directors, unlike Mr. In-
gram, are Christians and that every
young actress should have at least a
mother.

Pajamas and $:
HE ladies of our parish will no
doubt welcome a tip on _ next
spring’s bathing fashions. Beach pa-
jamas originated on the Lido at Venice
but did not become world-voguish until
worn down here at Juan-les-Pins.
The other day Alice Terry showed
me the latest innovation—pajamas that

The New Movie Magazine, February, 1932

Rex and Alice and
Herb

can be worn around the neck as
scarves. I said I could hardly wait
until next summer to see ladies wear-
ing their pajamas on their necks. Ig-
noring this smartie, Alice showed me
the latest ornament for beach costumes
—a cute little $ sign in silver. Right
away I had an idea: “Accompanying
the price mark,” I said, “you ought to
wear your telephone number.”

“IT beg your pardon!” said Mme.
Alice Terry, yachting haughtily away
from me.

Male Garbo:

ONALD COLMAN arrived sur-

reptitiously at Villefranche after
nine days aboard boat from America
and promptly leaped a friend’s yacht
for Cannes. Born sailors, these British.
In passing he confided that he thought
“Arrowsmith” would prove to be his
best picture.

He has been with Samuel Goldwyn d
for seven years and recently renewed. ea
Hach of his pictures cost Samuel
around $800,000.

Some os: Honglldls Sueeess nas be | e ®
attributed to his off-screen perform-

Pee ees |v am eeline Adams
aloofing its society. A sort of male
Garbo, he has little to say and doesn’t

say it.
Few people know that Mrs. Colman QO B | f A J

has been living in France for several wih 0d S Oo stro OQ nA
years. When this appears she prob-
ably will not be Mrs. Colman, though,
of course, I did not learn this from
Mr. C. Silence remains golden even
for the talkie actor.

Solar Horoscope ¢
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ie nue eeepllon of Lubitsch, F I ‘ “i

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man. mean they make them act like
Hollywood stars at a premiere. zal .

Perhaps that is what Queen Mary For Sound Advice

had in mind when she said that Queen
Marie of Rumania ought to go to Hol-
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this in reading the account of Lady

May Cambridge’s wedding to Captain Twelve books, one for each sign of
Abel Smith. The Prince of Wales ‘ 9 :
lifted his glass to the bride and said: the zodiac, one which belongs espe in the Stars.
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and the bride’s relatives joined in the iy se oh 39 ‘
chorus, her Majesty beating time with you are frank, open hearted and sincere,’ says Evangeline
her glass. Adams, “but hould cultivate tact tience, persistence.”
Can’t you see Marie Dressler in the ere vr ihe Beyer aan s aie eS es ,
part? Maybe that’s why Marie hob- Every analysis is as keen, as penetrating and inspirational as
nobs with Kings and Queens over here. that. Study the chart below and check your birth dates in send-

She’ I h lf. aalges
Mable nk eee ing in the coupon. Ten cents plus three cents postage.
Among the Apaches:
ARSEILLES is one town that
. lives up to its screen reputation. Tower Books, Incorporated,
Paris has lost color but Marseilles is 55 Fifth Avenue, New York, N. Y.

still a human palette. The greatest F lk
AMAT CURT Ct ceea. Cone Milica) Goce Leer 10 cents, plus 3 cents postage, for which please send me the books

a 7 oe + ” - * :
pce, aris, which has its setting FOR PERSONS BORN BETWEEN
i March 22 to April 20 June 22 and July 23 | Sept. 24 and Oct. 23 Dec. 23 and Jan. 20

Last. evening I prowled the wickedest —Aries —Cancer —Libra 0 —Capricorn 0
street in the world, the rue Bouterie— April! 21 and May 21 | July 24 and Aug: 23 Oct. 24 aang Now, 2 Jane 2 land) cep a@
i 7 yn 7 — laurus LJ =wlEeo) —oscorplo —Aquarius
(during the Wee we soldiers gave it and June 2 Aug. 24 and Sept. 23 | Nov. 23 and Dec. 22 Feb. 20 and March 21
another name which I can’t repeat here O a Sagittarius

—not at the price of ten cents any-
how).
Pola Negri filmed a picture here, but
(Please turn to page 105)

F The New Movie Magazine, February, 1932 103

‘

Concerning Marlene and Maurice

table and, instead, insisted that I sit
down in my own seat once more. He
talked for several minutes, put every-
one back at their ease and returned to
his place at the table. The spell had
been broken. If Mr. Hoover only re-
alized it, Adolphe Menjou would be the
very man for the position of Warren
Delano Robbins.

HE complexity in the almost si-

multaneous marriages of Constance
Bennett and Gloria Swanson is also
causing much gossip in movie-land.
Michael Farmer, whom Gloria had such
a time in espousing, has been for years
one of the foremost cash-and-carry
boys along the brightly-lighted stem.
Strangely enough, he first made his
appearance on Broadway as the con-
stant companion of Philip Plant.

Plant, it will be remembered, was a
husband of La Bennett. Farmer kept
up his life of dalliance, flitting hither
and yon wherever ladies of diaphanous
gowns and expensive cars lingered.

He was in and out of more businesses
than Gerard. His friendship with
wealthy men stamped him in the same
category as Willie Stewart. During
the 1929 Wall Street debacle it was
rumored Farmer had made a fortune.
One of the few in the know had
tipped him off. Thus, a few months
after everyone had gone bankrupt, Far-
mer reappeared in the midst of every-
thing well-heeled.

Phil Plant, away from Constance,

(Continued from page 55)

was imbibing. Farmer’s attentions to
Phil’s wife gave rise to many rumors,
but close friends of the two said that
Farmer was really doing his best to
patch things up for them. Constance
and Gloria had always been pals of a
sort.

BAe in 1925, dining one evening
with the Phil Payne’s—he the then
editor of the Daily Mirror—Gloria told
me glowingly of her admiration for the
Bennetts. And Constance, who seldom
then had a truly sweet thing to say
about any other woman, confided to me
that Gloria was “a really great modern
actress.”

In a manner, the world was a bit
surprised to hear of Gloria’s marital
difficulties, because for quite a time
prior to the formal announcement of
her troth with Farmer, rumor had her
engaged to Waldo Logan, son of the
Chicago stockbroker with whom she
fee been seen running around a great
deal.

But evidently Gloria had to build up
a smoke screen; and might still be
doing so, if Constance and Gloria’s ex-
Marquis had not forced matters, and
—who knows? piqued her to extremity.
Seems a funny thing, doesn’t it, that
Gloria should wed, secretly, the man
whom gossips said was trying to patch
up the Phil Plant-Connie Bennett row
a few years back? And that Connie
should turn about and marry Gloria’s
then most perfect man.

F De La Falaise has been able to
recoup his fortune since his return
from France, then Connie will cer-
tainly have not only the title she craves
but a worthwhile man as well. If not,
poor Connie Bennett may spend a few
of her years in recouping aristocracy
that died in France at the end of the
Eighteenth Century.

Dudley Murphy’s attention to Syd-
ney Fox is just another one of those
things that Hollywood likes to specu-
late about.

INCE Chis Holmes and Katherine

MacDonald have broken up, those
interested enough to discuss his affairs
have linked him almost continuously
with the lovely Hawaiian princess who
returned to this country on the same
steamer with him in the fall. The
other day, though, there were fire-
works.

“Babe,” as we know the Hawaiian
hula, flew—it is gossiped—into a bit
of grievous rage at the continued at-
tentions which her big boy Chris was
paying to an attractive columnist.

The magazine writer denied all of
this when we confronted her at dinner
the other evening; but hastened to
assure us that she and Chris were
merely the most platonic of friends;
and that the Hawaiian “Babe” even
called her on the phone when she grew
fretful late at night.

Funny, these Hollywood late-night
confidences, aren’t they?

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the finest, most refreshing, minty fla-
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Tune in on Greater

i Smoking Enjoyment

i “You certainly do smoke a lot— ~

| andenjoy it! What’s your secret?” _

| “That’s easy. I always chew Sek x age

Beech-Nut Gum between £ iy /— g 4 as a oO, -
tam, oe e

smokes. It keeps my throat

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TET ETE

104 The New Movie Magazine, February, 1932

Rex and Alice and Herb

(Continued from page 102)

it proved as bad as the street and was
only shown in Amsterdam.

The quarter being what it is all the
best people in the world want to visit
it. During the day you only see the
slimy tracks of old debil Sin; not until
around midnight does he come right
out and grab your hat.

This hat-snatching is one of the
oldest Apache stunts. If you attempt
to pursue you may be led into a trap
where you'll be as helpless as. any
mousey; but if you kid the lad he'll
eventually toss it back to you, or it may
descend mysteriously over your brow
at some point down the line.

From the beginning of guide books,
all strangers have been warned they
are risking their lives to go into this
section at night. Even the ferocious
Pola had a police escort the one night
she visited it. She offered ta give me
a letter to the prefect who would sup-
ply me with gendarmes, but I guess I
must be an Apache myself at heart be-
cause I’m more scared of cops.

Anyhow, after drinking a couple of
Pastis (a bootlegged absinthe concoc-
tion) in the rue Coutellerie, I was old
Coeur de Lion himself. Before an
Apache could grab my Knox I had
snatched his cap and was off with it.
I also picked several pockets and
sniped an old lady’s handbag.

I taught them they couldn’t toy with
a Hollywood bandit, and Ill bet there
isn’t an Apache who would dare ven-
ture onto Hollywood boulevard after
six p. m. without six cops.

Just Like Home:
NYONE who has visited the Hell
Holes and Sinks of Iniquity of
the Fox lot during the filming of a
Lowe-McLaglen picture would feel at
home in the rue Bouterie. Sailors of all
nationalities have their own particular
bars, and, as in Hollywood, you hear
all languages— Armenian, Spanish,
Arabic, Swedish, Russian, Chinese and
even American.

In the Anglo-American bar a sailor
grabbed a cocotte by the neck and she
seized him by the hips to toddle off a
dance, while I waited for some one
to yell “Camera!” and Eddie Lowe and
Victor MacLaglen to walk in.

It all seemed very homey to me.
That’s the nice thing about being a
Hollywood boy: your home is where-
ever your hat is snatched.

Riviera vs. California:

NGRAWM’S “Baroud” is the first

talkie to be made on the Riviera.
This Cote D’Azur has never succeeded
in rivaling California’s gold coast as a
picture spot, although it has the sun-
shine and all the scenic features even
to the For Sale signs.

There is a greater variety of setting
and people within easy distance—lItaly,

Spain, Africa across the pond, and
Paris over-night.

Rex claims it is just as easy to make
pictures in Nice as in Hollywood. This
I feel pardoned in doubting after hear-
ing Rex try to fire a property man.
The squeals that gentleman emitted
could only be compared to sounds issu-
ing from a slaughter house. He stood
on the French Rights of Liberty,
Fraternity, Equality and the law that
requires a three-weeks’ notice.

In order to make a picture over here
with the speed of Hollywood you would
have to fire a man as soon as you en-
gaged him. Furthermore, the French
laborers have something of the artistic
temperament. They want to know the
reason for things. If a director de-
cides he doesn’t want the pot of ger-
aniums in the cottage window as he
thought at first, the property man is
liable to feel an aspersion of his handi-
work and grieve, unable to remove the
fleurs until he gets the feeling. He de-
mands an explanation, with other
workmen making observations.

The result is a conference over the
pot of geraniums. By the time a de-
cision is reached the sun is too far
gone for any more shooting that day.

Of course, it is stimulating to see
everyone take so much interest in a pic-
ture. Stimulating for everyone, that is,
except the man who is putting up the
money. He is liable to be turned against
geraniums for the rest of his days.

Bull Reeuperating:

ESTERDAY was brightened by a

letter from Bull Montana. One
cannot reproduce Bull’s letters with
justice in cold type; they should be
photographed. At first glance I
thought Bull was writing in Hawaiian;
Mr. Ingram thought Arabic until he
found his scholarly powers taxed for
a translation.

However, I made this out: ‘‘Am here
all forget my trube and ’ave great
HINES 6 of?

I could read between the lines—al-
Ways easier than the lines in Bull’s

compositions —that he was conval-
escing from a nervous breakdown
brought on by his divorce. You will

recall that Mrs. Bull alleged mental
cruelty, which is the last thing in the
world that Bull’s friends would sus-
pect of him. She said that after the
third or fourth gallon of chianti he
would make faces at her.

On hearing this, Bull collapsed and
had to be led from the courtroom. His
handwriting indicates that he is still
very shaky.

My alarm was somewhat allayed to-
day, however, on receiving a pustcard

depicting a plump Hawaiian wench,”

inscribed with much firmer script:
“This is my new Mama—yYour old
Pal, Bull.”

Next month Herb Howe, special writer? for the

New Movie Magazine, will introduce a new Spanish

star—in his story about Rex Ingram and Alice Terry.

. New Movie Magazine, February, 1932

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106

Jeanette Takes Paris!

(Continued from page 35)

one Paris journal declared she was
the greatest American sensation since

Lindbergh. ‘
She broke all records at the Empire
Theater including that of Jackie

Coogan (for which she should have
been ashamed of herself) and that of
her old love partner, Chevalier, the pet
of Paree.

It was more than a theatrical event.
it was an international affair.

Veo read about Jeanette being shot

by the Crown Princess of Italy who
caught her out riding with the Prince,
but you don’t know the half of it. Ac-
cording to some stories in the French
papers, her Highness, who is Belgian,
pulled the capone somewhere in Bel-
gium. (Others say the Riviera). The
spot doesn’t matter, Jeanette was on
it. Or so the European press declared.

It was vain to argue with a Parisian
journalist that if Miss MacDonald had
been scarred we all should have known
it since she has never sought to conceal
anything.

“Why, then, did she not come for-
ward with denial at the time?” he de-
mands witheringly. :

“Because,” I explique. ‘Miss Mac-
Donald was probably in a bathtub on
the set, and she’s too much a lady to
jump out in front of everybody even to
claim her own corpse.”

The journalist smiled nastily. He
said the reason we saw no scars on
Jeanette was that she was dead and
buried; the lady we saw was her sister
who had been substituted.

I met this with my customary
scientific rebuttal. I said that even
twins are not so alike in tout ensemble.
Somewhere there is bound to be a be-
traying dimple.

To prove that she was still alive
Miss MacDonald came to Paris. Of
course the five thousand a week had
nothing to do with it. You know us
Americans. Money means nothing to
us, only honor.

Now, I’m telling this story not to re-
vive the gossip but to reveal the per-
sonality of MacDonald. She says she
is no relation to Ramsay but she’s cer-
tainly akin in adroitness.

Three powerful French papers were
against her. They did not contend she
was dead but they did assert viciously

‘| that she had planted the story for pub-

licity. Belgium and Italy, she says, re-
quested the French government to pre-
vent her landing. To this the French
had replied that she was an American
in good standing and so was free to
enter. At the same time it was re-
ported that the French government
would claim forty per cent of her earn-
ings as income tax.

The first thing Miss MacDonald did
on arriving in France was to con-
tribute a flock of dollars to the
wounded French veterans. In reply
the French government gallantly re-
fused to pinch a centime from her
salary.

O N her opening night Jeanette was
distrait. There were rumors that
the Fascisti would make a demonstra-
tion against her. If the. Italians
thought she was capitalizing on the
fiction about their Prince a resentment
was quite plausible. You know how
we would feel if some Italian actress
hoked a story about being fired upon

by Mrs. Hoover while joy-riding with
Mr, Hoover, We probably wouldn’t
like it at all, and then again we might
be charmed by the romantic appeal we
never suspected. We Americans are so
silly about sex attraction.

Jeanette tried to tell French re-
porters that she would never have in-
spired the story because from the
American standpoint it was bad. pub-
licity. Reporters no compree. They
remembered that Gaby Deslys thrived
for years because she was supposed to
have kicked King Manuel from his
throne-spot.

“Oh dear!” wailed Jeanette on the
fatal eve. “The Prince has the entire
royal household to back him up but
President Hoover is not standing be-
hind me, patting me on the back and
saying ‘I’m right behind you, little
girl.’ ”

“Mr. Hoover is a very busy man,” I
reminded. “No doubt he would like to
do the right thing.”

Soothed, Jeanette said: “I’m not so_
afraid of what the Fascisti will do to
me as what I will do to them.”

“Ah,” I said. ‘Now you speak like
true Americain.”

“T don’t know whether I shall shout
back at them,” said Jeanette, “or
whether I shall burst into tears.”

GHEE thought of phoning the Ameri-
can embassy for protection.

said in that case it was only fair some
one phone the Italian embassy to ask
protection for the Fascists. If you
have ever tried to get anyone on a
French phone you know how. absurd it
all was. All we got was the desk and

Keystone View

Some five hundred people awaited

Jeanette in the street, many of them
looking for autographs.

The New Movie Magazine, February, 1932

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Jeanette Takes
Paris!

a couple of cocktails.
I did. Jeanette drank only mineral
water. She hates wine, all alcohol.
The champagne she drinks in pictures
is ginger ale. I’m afraid it will ruin
her if she keeps it up.

The old Empire Theater bulged on
the opening night, accommodating sev-
eral hundred more people than for
Chevalier’s record.

The orchestra played a melody of
“Love Parade” airs. Velour curtains
parted. On stepped the silver-sheathed,
gold-topped Jeanette—or was it her
sister? She was a bit gauche, visibly
nervous . . or was this art? asked
the Paris papers next day.

There was applause. No one booed.
Jeanette then pulled one of her sharp
tricks. She burst into French, singing
a popular chanson. As you know, the
French are wildly chauvinistic. The
fact that Jeanette had taken the
trouble to learn French was a tribute
to la patrie. The audience went wild.
When the tumult subsided she begged
them in French to permit her to go on
with her program. After that there
was no stopping her. She was a run-
away, Mistinguett, the sixty-year-old
darling of Parisian music halls, hbe-
stowed the accolade of her presence
that evening.

And when Jeanette held out her
arms to Chevalier, seated in a box, and
he leaped the footlights to embrace
her the city of Paris was hers. Morris
Gest bounded down the aisle tossing
his aged fedora and exuberantly de-
claring it was the greatest ovation any
performer ever had.

During each of the first four
nights of her appearance a_ thou-
sand people stood, and for the first
time in the history of the theater a
matinee was given every day; 587,500
francs was the week’s offering, and
that’s around 238,500 dollars.

I surged backstage after the matinee
the second day just as Jeanette con-
cluded her Grenadiers’ song.

“Well, you’ve captivated Paris,”
je dis.

“Oh, I have, have 1?” elle dit. “Well,
come upstairs and let me capture you.”

It was the work of a moment.

Several others were being captivated
simultaneously in her dressing room—
photographers, journalists, this-and-
thats.

Jeanette agreed to act as starter for
the walking race of midinettes the
following day. This she did by sing-

I mean Bob and

ing the Grenadiers’ march in the
Place de la Republique. A hundred
thousand Parisians joined in the

chorus.

The simplicity and appreciativeness
of the MacDonald personality took the
French, who wearily resent the
swagger that characterizes so many
Americans abroad.

While receiving in her dressing
room she went right on removing the
make-up, applying the eye-cup, taking
pastilles for a cold which had handi-
capped her from the outset. Without
ceremony she tossed everyone out when
it was time to dress.

Hovering in the ante-room with Bob
Ritchie. I asked when the marriage
would take place, or had it?

He shook his head. He wasn’t sure

(Please turn to page 108)

The New Movie Magazine, February, 1932

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108

Jeanette Takes Paris!

(Continued from page 107)

it ever would, he said. They were good
friends now, I agreed it was a pity to
spoil friendship. In Hollywood you
note that only after divorce do husband
and wife declare themselves the best
of friends. But Jeanette is unusually
diplomatic. I wouldn’t be surprised
any day to learn that she and friend-
manager Ritchie have been married
some time.

Jeanette emerged wearing a dark
blue suit and hat. There is never any-
thing histrionie about her dress or
manner. In grace of naturalness she
reminds me of Anita Stewart who
never took the trouble to change her
Brooklyn accent or assume any veneer.

Some five hundred people were

awaiting Jeanette in the street. Two
gendarmes forced a path to the car. It
took about half an hour to make it, as
Jeanette scribbled her autograph for
everyone. I felt I was back in the old
days with Jenny Lind when enthusiasts
unhitched the horses from her car-
riage and dragged it through the
street. Jeanette’s carriage being horse-
less the enthusiasts contented them-
selves with removing the headlights,
mudguards and my coat tails as I oozed
in after la vedette. A shabby child
thrust in a small bunch of roses; an-
other kissed her hand and presented a
letter. The car moved slowly down
the avenue de Ternes, Jeanette shaking
hands through the window. She
seemed as eager as they were. Again
I felt the girl had the making of a
great politician. If she ever wants to
run for office she’ll surely win by tour-
ing the country shaking hands and
kissing babies.
“7 THINK there were more people
today than yesterday,” said Jean-
ette as the car got under way, “Does
it remind you of Hollywood—the crowd
I mean?”

“No,” I said, ‘There they are sheep-
ishly curious; here they’re outright
adoring.”

“Yes. It embarrasses me when they
kiss my hands. They do so many gra-
cious, touching little things. . . . These
poor little roses, for instance. Think
of her saving her centimes for them.
emis They mean real sacrifice. . . .”

I thought of Jeanette herself dancing
at the age of twelve in the theater, at-
tending school in the morning, finding
time somehow for cultivating her voice.
She knows sacrifice. Her life is dis-
ciplined. It moves to a _ rigorous
schedule of periods, for work, practice,

rest, business. And yet she never ap- ,

pears hurried.

Back in the hotel she stretched full-
length on the divan-for ten minutes’
rest before receiving callers. The maid
brought a glass of milk. Jeanette
asked her to put the little bunch of
roses in water. I started to go, the
maid significantly repeating that
people were waiting without.

“Oh don’t hurry away,” said Jean-
ette. “They are just fitters from
Jenny Dolly’s,”

She told me that Chevalier wanted
her to return to Hollywood to appear
in “The Marriage Circle’ with him
under Lubitsch supervision,

There had been a report that Mau-
rice had not behaved graciously toward
Jeanette in Paris; had, in fact, refused
to attend her opening performance.

“Absurd,” said Jeanette. “Absurd
as the crazy story about me and the
Prince. Chevalier is and always has
been a marvelous person toward me.
He came several times to see me and
we dined with him and his wife. I
will do the picture with: him, but I do
not want to sign a term contract. I
would rather take pictures as they
come. On the whole I’ve been pretty
fortunate . . .” she glanced about for
wood on which to rap, “. . but one
or two I would not have done. I never
liked ‘The Vagabond King’ from the
first. ‘Let’s Go Native’ was another
I should not have chosen. I did like
‘The Love Parade’, ‘Monte Carlo’ and
‘Annabelle’s Affairs.’ The latter was
farce, which I’m inclined to think is
not so well adapted to the screen as to
the stage. It’s much more difficult
than straight comedy or romance. And
in saying that I’m presenting myself
a bouquet because I was rather suc-
cessful in farce on the stage. I feel my
metier for the screen is romance with
high comedy. I’m more interested in
stories than salary. Given good stories
the salary just naturally follows, I
could remain here in Europe indefi-
nitely at a nice figure, I have an offer
of fourteen thousand a week, but I like
the idea of ‘The Marriage Circle’ with
Chevalier and Lubitsch supervision, so
I’m going back to Hollywood.”

Before returning to the cameras
Jeanette sang for a week in London.
On the eve of her appearance the
pound fell. I don’t know whether this
was a demonstration for Jeanette or
whether it went off the gold standard
because of the drain of Jeanette’s
salary.

Give the little girl a good story, a
few songs, a bucket of champagne and
a tub. That’s my program for re-
lieving the depression.

Millions in a Name

(Continued from page 70)

one hundred camp chairs, made a deal
with a film agency for a projection ma-
chine, a screen and a supply of film.
The good folk of Forest City paid a
nickel a head to enter the first Roxy
theater and at that it was the best
show in town.

B* the time Roxy had an opportun-
ity to test himself in big city com-
petition (Minneapolis and later St.
Paul), he had discovered a number of
defects in the prevalent method of
showing motion pictures and promptly

set about rectifying them. His theater
was scrupulously clean, it was well ven-
tilated and, experimenting with day-
light projection, he found that the
dares of a tomb was not essen-
tial.

Also, a close study of audiences and
their response, revealed the importance
of music, even if a theater could afford
no more than a tinkling piano.

When Roxy returned to New York
in 1912 to manage the Regent theatre
in Harlem, vaudeville was still going
strong. The Regent, a large house,

The New Movie Magazine, February, 1932

Millions ina Name

must face brisk competition from the
vaudeville chain theaters that ran brief
films as chasers at the close of the pro-
gram. These pictures were the bobbed
tail of the dog, so to speak. Photo-
plays, as we know them today, were
just arriving. It was in the summer of
1912 when “Quo Vadis?” caused a sen-
sation by running for several months
in a legitimate Broadway theater; the
year in which Adolph Zukor organized
the Famous Players Company, mark-
ing a new era in motion picture pro-
duction.

Roxy realized that pictures in their
immature stage were not enough;
therefore, he reinforced them with a
show including orchestral music and a
few acts, taking care, however, to em-
phasize the finest films obtainable.
Also he concentrated on building on
the reputation of his theater as a
neighborhood institution guaranteeing
entertainment of a superior quality,
and courtesy—always courtesy. The
success of his regime attracted such
favorable attention that he was made
managing director of the New York
Strand, opened with acclaim in 1913.
The Strand was the largest and the
most luxurious picture house in the
world. It became the model and the
pace-setter in theater construction and
showmanship for years to come.

While at the Regent, Roxy had ex-
perimented with stage prologues to pic-
tures, brief acts in the mood of the
sereen story. At the Strand, with its
ample stage equipment, he expanded
the prologue along more elaborate
lines. Presently, every first-class pic-
ture house in the land adopted the pro-
logue embellishment as a necessary
part of the program. The vogue of the
prologue ran its course through a pe-
riod of years; then waned and was
pretty well done for prior to the advent
of the talking picture.

Noe ees we accept the radio as
a normal part of modern life. But
net so long ago the show world was
decidedly panicky for fear folks would
lounge around the home listening to
the radio instead of visiting a theater.
Without waiting to find out what was
going to happen, Roxy, managing di-
rector of the Capitol at that time, in-
vited the radio into the family. One of
the first and most popular features on
the air was “Roxy’s Gang.” The Gang
offered real entertainment for the stay-
at-homes, and more than that, it was a
marvelous advertisement for Roxy and
for the Capitol Theatre. Today, the
commercial value of the name, Roxy, is
estimated at many hundreds of thou-
sands of dollars. In September, 1932,
it will pass from the theater it now
adorns to Radio City, now in con-
struction.

Unlike many men of vision, capable
of planning for the future, Roxy is a
practical showman in the immediate
present, as proven by the books of the
Strand, the Rialto, the Rivoli, the Capi-
tol and the Roxy. The Capitol was
losing money week after week when he
was called to the helm. Within a few
weeks he had steered out of the red sea
into the black. His policy is not one of
curtailment in order to reduce ex-
penses. He believes, as he believed in
Forest City, that if you offer the best
entertainment in town you can name
your own price.

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The New Movie Magazine, February, 1932 109

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Heart Specialist

(Continued from page 41)

She shampoos her platinum locks three
times a week. And here’s the secret to
the color of her hair: She was born
platinum.

Oh, well—have it your own way.
ok * *K

Just the same, Jean has a curl, clipped
{rom her aead when she was a child, in
case any one wants to start a controversy.

And a controversy with Jean Harlow is
unpleasant—she throws things.

Including dice.

And sleeps between apple-green sheets,
according to documents which press agents
have prepared for posterity.

And a breathless, waiting world might
as well know that she is very ticklish,
cries easily, and...

* * %

She has a thigh on her right mole...
I mean a mole on her right thigh.

A carload of circus freaks has been
brought to Hollywood by Tod Brown-
ing for his current thriller, called “Freaks.”
And bringing freaks to Hollywood, if you
ask us, is carrying coals to Newcastle.

ES * *%
HAPLIN’S “City Lights” ran _ thirty
weeks in Paris and grossed 7,000,000
franes . . - $280,000.

Charlie returned to America with his
brother, Syd—and may star him in a
comedy. e bigeeson'

Norma Shearer will be in the talkie
version of “Smilin? Thru.” This was one
of Norma Talmadge’s most successful pic-
tures in the old ‘silent’ days.

* *

Howard Hughes put $3,000,000 in “Scar-
face,” “Age of Love,” “Sky Devils” and
“Cock of the Air.” But he still has diffi-
culty spending money as fast as he makes
it from oil drilling patents.

* * *

London censors turned down Garbo’s
“Susan Lenox” and then reversed the de-
cision.

* * *
ND here are some more Temperature
Chart notes I hope you will get a

thrill out of: }
That affair between Marguerite Chur-

chill and George O’Brien, once hot, then
cold, is sending off sparks again.
* * *

When Tom Moore’s vaudeville engage-
ment ended unexpectedly in Long Beach
jt was an easy matter for him and Eleanor
Merry to dangle along the rest of the
way down the coast and be married at Tia

Juana. Ba ee ee

Helen Mack and Billy Bakewell are
lunching together and dining together and
dancing together a lot these days.

Wouldn’t it be funny if Lew Cody and
Phyllis Crane became serious about it?
They're seen about together everywhere.

Paramount has just given Chester Morris
a long-term contract. Let’s hope this will
mean that he will be seen on the screen
more often. “The Miracle Man” has been
chosen as his initial picture under his new
contract. Sylvia Sidney is also in the cast.

The New Movie Magazine, February, 1932

By the time you read this Ernst Lubitsch
and Ona Munson will probably have gone
and done it, and so, too, Clarence Brown
and Mona Maris.

Lois Wilson is being beaued somewhat
by Winslow B. Felix, well-known automo-
bile dealer and poloist.

Janet Gattis McCormick, one of Holly-
wood’s most recent Reno graduates, is seen
here and there with Dean Markham. Janet
was John McCormick’s second choice as
a helpmeet after he and Colleen Moore
crashed their cupid cruiser.

Don Dillaway once again is defending
Dorothy Jordan against all comers. A thin
crust of ice was reported to have been
formed over their stream of love on ac-
count of Dorothy’s frequent appearances in
public with Howard Hughes. Everything
seems okay now.

UCH whispering was occasioned at the

Mayfair Club when Janet Gaynor and
Charlie Farrell, screen sweethearts, after
reported engaged and now both married,
danced with each other more than they did
with anyone else in their party, including
friend wife and friend husband.

* ok oR

Philadelphia censors are cutting out all
scenes showing guns—unless the toters are
cops.

a
Australian vote places “Disraeli” as best
picture of 1930.
kok
Dill bill, in Congress, would saddle
picture production with federal super-
vision—as though pictures aren’t bad
enough already.

City of Los Angeles is trying to pin a
ten per cent tax on movie tickets.

Irene Rich’s divorce from Realtor David
Blankenhorn established some kind of a
record for motion picture Houdinis.

His complaint was filed on Wednesday.
She replied on Saturday with a cross com-
plaint. The case was heard on Monday
and a divorce granted to Irene.

ARRY CAREY has the best marine
library in the West—and wots more
he’s read all his books and is continually
collecting more.
* * *

Harry is back on his ranch and has ar-
ranged with the government to have Nava-
ho Indians on the place.

They built a Navaho village on the
Carey ranch five years ago. He speaks their
language—and knows more about Nava-
hos than they know about themselves.

VEN fire destroyed the home of
Frank Fay and Barbara Stanwyck at
Malibu Beach, Fay ran about bemoaning
the loss of a five-carat diamond.

The embers were still smouldering when
private detectives, servants and paid search-
ers began screening sand for the missing
gem.

Friends stood about feeling sorry for
Frank and Barbara over the double loss
of home and diamond.

“What's that in your tie?” some one sud-
denly exclaimed to Frank.

Yep. It was.

Dr. Cook

Extra! Stop the presses!
Kay Francis has a dog that wags
its tail the wrong way—up’n’down.
Pe
Mervyn Leroy, youthful director, has a
dentist work on him on the set. And will
he get a bill!
a ee
Marlene Dietrich has moved into the
very modern mansion built three years ago
in Beverly Hills for Charlie Mack of
Moran & Mack, the Two Black Crows.

* * *

This house and the very modern home
occupied by Cedric Gibbons and Dolores
del Rio are about the only two examples
of ultra modern architecture occupied by
movie people.

a
Clifton Webb, dancing sophisticate,
made a great fuss over Dietrich while
in Hollywood.
x & #

Mrs. Will Rogers gets all the money her
husband receives for writing—about $3,000
a week. Sometimes more.

* * *

What’s become of:

Alice Terry? Paris.

Rex Ingram? Making a picture in
France.

Mitzi Green?
week.

Barbara Bennett? Dress shop.

* * *

Clark Gable drove a Ford until a few
weeks ago. Traded it in on a big Chrysler.
* * *

Neue ce FORD, that good-looking
boy you saw in “X Marks the Spot,”
has just recently celebrated his tenth wed-
ding anniversary.

Vaudeville—$2,500 a

James Dunn is being very attentive to
June Knight, a dancer at the Cocoanut
Grove, these days.

q * * *

Barbara Bebe Lyon has already paid her
first visit to a motion picture studio. She
visited her father, Ben Lyon, on the Pathe
lot.

* * *

Janet Gaynor and Charles Farrell will be

together again in “Rebecca of Sunnybrook

Farm.”
* * *

Arlene Judge’s first picture, since her
marriage to Wesley Ruggles, will be “Girl
Crazy” in which the famous team of Wool-
sey and Wheeler are featured.

Wallace Beery flew his own plane to New
York for the opening of “The Champ.”
* * *

While he was winging east, fire broke out
in the den of the Beery home in Beverly
and destroyed his clipping book and all
his still pictures—priceless mementoes of
early film days.

ee ere

Garland Lincoln, piloting a plane in
“Lost Squadron,” hit a barn and cracked
up. He was uninjured.

* * *

Overhead in the Roxy Theater used to
be $85,000 a week. It has been cut to
$60,000.

* * *

June MacCloy and Lupe Velez have been
signed by Ziegfeld.
(Please turn to page 113)

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Bang!

(Continued from page 37)

He tapped the back of my head as he
finished.

“T don’t think it can be done,” I said.

But just then the head blonde re-
turned.

“Your breakfast’s ready,’ she said.
She put her arm around him and tried
to kiss him. So instead of taking my
nose and putting it back there, he took
her nose and put it back there. The
demonstration was convincing. I could
see now that it could be done, but it
didn’t look very nice.

“Tt doesn’t look very nice,” I told
him.

Apparently he was not interested in
the artistic angle. He pushed the
blonde into a corner and strode from
the room, I followed him into the din-
ing room. There the first assistant
blonde had quickly taken the place of
the disabled lady.

“Get out of here,” Jimmy said to
her in what, I must say, wasn’t a very
genial tone, although he may have
meant it well.

“Aw, Jimmy,” she said, soothingly,
C5) [——? =

He gave her a good swift kick and
she sprawled through the door, I
waited for him to sit down and spread
a napkin across his knees.

Nes I said, “this is much cosier.”

I felt now that I had no time to
lose. I could see he was a busy man.
He still had twelve other blondes to
mutilate and here it was almost one
o’clock. And that was just his home
work. There were murders waiting to
be committed in his great business
world. I plunged right into the inter-
view.

“Ts it true,” I asked, “that you were
born in New York City on July 17,
1904, the son of an Irish saloon-
keeper?”

He looked at me a moment through
quizzical eyes. Then he picked up half
a grapefruit and pushed it into my
face. I dug the seeds and the pulp
out of my eye. I could see this was
going to be fun. It was to be a battle
of wits. That is the thrill of interview-
ing. It is a great game in which you
pit your ingenuity against that of an
adversary,

“There are some pretty ridiculous
statements in circulation about you,”’
I said with what I use for a sardonic
smile. “For instance, that one about
how you started life as an office boy
and later became a bundle wrapper.
There isn’t any truth in that, of
course.”

* % *

FOUND out later that what had

happened was that he had thrown six
pieces of buttered toast at me, At the
moment I thought the boys were back
with that machine gun.

Plainly, a new tack was necessary.
The good interviewer always has one
ready. I would play a trump card. I
would shame him into talking. It is a
system that never fails. For that rea-
son I hesitated to use it. But he had
brought it on himself.

“T know all about you, you big sissy,”
I said, with a taunt in every word.
“You used to be a chorus boy and
what’s more, just to make it worse, if
possible, it was in a show called ‘Pitter
Patter.’ ”

| fee worked all right. I don’t remem-
ber clearly just what did happen.
I know I saw him reach for his cup
and it was my impression at the time
that he wanted something to brace
him. But he didn’t use it for a bracer.
Instead he threw its entire contents
into my face,

The scene that followed I didn’t see
because of having hot coffee in my
eyes. I have the satisfaction, however,
of knowing that Cagney had to have
assistance. There must have been sey-
eral hundred of them. I remember
vaguely having a team of horses drive
over my face. I heard shots, too, and
I couldn’t have just imagined that for
later they took enough lead out of me
to sink the ordinary battleship. They
must have run out of ammunition for
there are indications that some of the
boys used meat-axes here and there.

After things had calmed down a bit,
I remember someone, probably Cagney,
saying: .

“Get him out of here.”

I realized I had to be diplomatic
about the whole thing and that this
was no time to force the man to be in-
terviewed against his will, so I went,
carried by four or five people. They
say they found me later in a vacant
lot, but I don’t believe that. What
would I be doing in a vacant lot.

Pp. S. Since getting out of the hospi-
tal I have talked to Cagney’s
press-agent and got the dope on him.
That’s what I should have done in the
first place.

It seems that he was born in New
York City, July 17,1904, the son of an
Trish saloonkeeper and that he did
start life as an office boy and later be-
came a bundle-wrapper. What’s more
he was a chorus boy and in a show
ealled “Pitter Patter.”’ So you see I
was on the right track all the time.

Also I found out that he was in
vaudeville and played a Jewish boy in
a “sket” and got $12.50 a week. It
might be interesting to mention here
that he spends at least that much a
week now for grapefruit to push into
people’s faces.

He finally got onto the legitimate
stage, I learned, in Maxwell Anderson’s
play, “Outside Looking In,” in which
he played a tramp. I might add some-
thing sarcastic there but I won’t. ,

He got to Hollywood when Warner
Brothers bought “Penny Arcade,” a
play in which he appeared. When they
got the play out to the Pacific Coast
they found they had Cagney, too. So
he just stayed there.

Also I found out something else.
Youw’ll die laughing when you hear this.
He’s taking piano lessons! No kidding!
He’s taking piano lessons!

And they say he’s tough. I don’t be-
lieve it.

WATCH FOR THE NEW MOVIE KINDERGARTEN

The New Movie Magazine, February, 1932

eae

Dr. Cook

(Continued from page 111)

Director George Fitzmaurice _ar-
ranged a surprise party for Mrs. Fitz-
maurice (Diana Kane) on their fifth
wedding anniversary.

“I’m taking up my wife’s option,” he
explained.

x ok &
Adolphe Menjou wants to produce pic-
tures . . . and that’s what he started out
to do before he became an actor.

* * *

M-G-M suddenly abandoned “Good
Earth”—considered finest novel of 1931.
Paramount is planning to do the story in
China with all-Chinese cast and issue it as
a synchronized silent.

* * *

“One Hour With You,” with Chevalier,
Jeanette MacDonald, and Roland Young, is
really a sound version of “The Marriage
Circle,’ which Lubitsch directed so su-
perbly for the silents.

x & &

Pola Negri’s next will be “East River,”
and First National has bought “Cabin in
the Wood” from Ray Long for Barthel-
mess, and Joan Crawford is making “The
Christian” and James Cagney and Joan
Blondell are doing “The Roar of the
Crowd,” and Universal has signed James
Flavin whom you may have seen in vaude-
ville with Blanche Sweet.

* * *

EORGE ARLISS is treated with great
respect in Hollywood. And he is al-
ways courteous, kind and respectful to
directors and technicians who work with
him. But he insists on complete rest as
soon as fatigue overtakes him. Arliss will
not conform to efficiency schedules ar-
ranged to rush production.
* %* *

Arliss spent half his life playing obscure
British towns. He feels that his ultimate
triumph, and escape from obscurity, is due
in a large measure to the recognition given
him by American audiences in the theater.

* * *

Mr. Arliss is making “The Man Who
Played God.” A reporter from Kansas
City asked him why he selected such a
role. “I felt,” replied Arliss, “that it is
the only role that can trump the grandeur
of an American Secretary of the Treasury.”

* * *

“Five Star Final’ ran eight weeks at the
New York Winter Garden—made $249,000.

* * *

John Barrymore—now through at War-
ners—is playing with his brother, Lionel,
in M-G-M’s production of “Arsene Lupin.”

* # &

Secretaries on Fox lot now draw $35 a
week top. Before recent slashes some of
them got $60.

* *

Edmund Geulding wants to cast Buster
Keaton in the serious dramatic role of
Kringelin in “Grand Hotel” .. . and Bus-
ter is eager for a chance to work straight.
Keaton as a boy did serious réles in stock
—played Little Lord Fauntleroy.

* * *

DDIE CAREWE, the director who

brought Del Rio from Mexico, was

smashed up in an auto accident. Inci-

dentally, he’s in the garbage disposal busi-
ness in half a dozen cities.
* * *

He ought to be able to pick up a few
ideas for scenarios while poking around.

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rk Street, Cincinnati, Ohio

THE HOLLYWOOD
BANDWAGON

Keep your eye on this popular page of movie gossip—
each month it will give you the latest news and chatter
straight from Hollywood. For a complete review of all
the important new film releases, for interesting com-
ment on film personalities . . . new stars and favorites
..- follow the Bandwagon in this and every issue of

The NEW MOVIE Magazine

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The New Movie Magazine, February, 1932

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KANTSLIP LINGERIE CLASPS

RADIO RAMBLES—Here are _ intimate

facts about your favorite radio star ...

the who’s who of radioland. Page 67.
The NEW MOVIE Magazine

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The Little Fellow That Does the Big Job
0 eee

114

Radio Rambles

(Continued from page 68)

Vallee’s the village druggist. Lee
Morse comes from one of the eight
original Texas Rangers. Arthur Jar-
rett’s father played third base for the
Boston Red Sox. And Seth Parker
is a minister’s son.

Richard (Sherlock Holmes) Gordon,
however, does owe his success to his
grandparents. If his grandmother, who
was all set to enter a convent, and his
grandfather, who was about to enter
a monastery, had not met and changed
their minds, Gordon would not be here
today to go on the air.

Can Nothing Stop Them? When
Adele (she sings to sell Weed Tire
Chains) Vasa appeared before her first
big stage audience at New York’s Rivoli
in 1926, she forgot her lyrics during the
last scene of “Martha.” Quick thinking
Vasa, however, saved the day by just
repeating the same three words, “Do
not leave me,” throughout the song.

This laugh-clown-laugh doctrine that
the show must go on is as strong in
radio, however, as in her sister amuse-
ment arts. When H. V. (‘Edits the
News’) Kaltenborn was confined to
his bed by his doctors, the CBS en-
gineers set up a microphone next to his

pillow. He kept on until his operation,
when Robert E. MacAlarney took his
place.

When a power dredge’s anchor in the
Passaic River chopped WOR’s power
lines in two, the station’s staff brought
up their automobile batteries, and work-
ing by candlelight went back on the
air again.

Kate Smith, realizing as she faced
the microphone one night that she had
forgotten to dispose of her cough drop,
went right into her song, cough drop
and all. On a high note, the candy
slid down Kate’s throat. She gulped
but the song went on. The show always
goes on.

Put On Smoked Glasses for Crosby:
Bing Crosby did not throw his Christ-
mas ties away. Your boy friends may
have shuddered at theirs, but Bing likes
colors—green, blue, red and yellow, all
together, of course. Harry (he kissed
Clara Bow) Richman, on the other

hand, prefers dark clothes, especially
—black silk dressing gowns. The Rudy
(she was the daughter of a police chief
who got her man) Vallees did their bed-
room all in blue because it helps them
sleep better. Kate Smith will wear any
solid color except red, but Eddie Cantor
wants purple-striped underwear.

Beware of Good Looking Men: Rudy
Vallee says that he can spot the
sweeties on his floor by the loving way
they dance and their oblivion to all else
that goes on around them. The couples
who have been married a year or more,
on the other hand, dance in negligible
embraces and get more of a kick out of
the crowd than out of their escorts.

Two years ago Rudy warned girls
against good-looking men. “Most of
the good-looking men I have met,” he
told them, “‘are romantic only to a small
degree, and golf or an evening at
cards with old cronies is more fascina-
ting to them than the lips and the re-
turned caresses of some _ beautiful
woman.”

How about it, girls? Haven’t you
some love problems you would like to
ask Rudy? Let me know and I'll try
to get you an answer.

Who Is Polly Moran? Is movie popu-
larity losing its front seat to radio?

Last week Polly Moran stepped into
the Chase National Bank to cash a
$2,000 check. The manager demanded
identification.

“But don’t you know me?” Polly
cried out, amazed.

The manager didn’t. Nor had he
heard of her, nor of her partner Marie
Dressler. Puzzled, Polly asked if he
listened to the radio.

The manager said he did. Yes, he
listened to Major Bowes, too. Why, he
had been listening to his program for
years. But, no. He had never heard
Polly on it.

However, that did not hurt Polly’s
pride. What she wanted was the two
thousand dollars. So she called up the
Major. The bank manager took the
phone from her. “Yes,” he beamed,
“that’s his voice.”

Polly got the cash.

Acme

Charles Chaplin with the Prince of Wales at an ice carnival at Grosvenor

House, Park Lane, London.

Lady Milbanke (left) and the Duchess of

Sutherland (right) are the women.

The New Movie Magazine, February, 1932

Box Office Critics

(Continued from page 100)

her for once in another role, that of
room-mate to Thelma Todd in “Let’s
Do Things.” Must say it gave me the
best laugh of the season. These two
make a very clever team and I know
our film fans would enjoy seeing them
together again. Here’s to more joy
and laughter with Zasu and less
thought of depression.
Juanita W. Loper,
520 N. Walnut St.

Likes Barbara, Ben and Clark

Scranton, Pa.

Every picture in which Barbara
Stanwyck appears is a guarantee of
perfect entertainment. In my estima-
tion she is the best actress on the
screen, and has that rare combination
of being able to act superbly and wear
her costumes with equal grace. Saw
her latest picture, “Night Nurse,” and
it sure was a honey. Not to say I
wasn’t just as tickled to see Ben Lyon
again. lLet’s have more of them both.
However, why ruin Clark Gable’s ris-
ing popularity by giving him such
parts, even though he takes them off
to good advantage?

Nancy Evans,
905 Myrtle Street.

Cheers for a Newcomer

Savannah, Ga.

Here’s to one of the greatest actors
of the sereen, Irving Pichel. He is a
real actor and here’s hoping he will
have bigger parts in his future pic-
tures. He was grand in “Murder By
the Clock,” marvelous in “An Ameri-
can Tragedy” and best in “The Road

to Reno.”
Virginia Theobald,
402 E. Victory Drive.

A South African Likes Us

Johannesburg, Transvaal,
South Africa.

I have no doubt that you have al-
ready received many sincere congratu-
lations on your extremely interesting
magazine, but I should like to add a
South African one. It is by far the
best movie magazine I have read, and
I have read a good number, being a
most enthusiastic fan. It is not merely
a collection of facts, but contains
articles that interest both American
and over-sea readers. I, therefore,
wish you every success with your fu-
ture publications and trust that the
New Movie will lead all film maga-
zines.

Ewan Macfarlane,
Carnawon Mansions,
Loveday Street.

See Stone for Etiquette

New York, N.Y.

Why buy books on etiquette when
you can go to see a picture featuring
Lewis Stone? I think that he is the
most finished gentleman on the screen.
I am never disappointed when I see a
picture he is in. His acting in “The
Secret Six” was perfect. More pic-
tures for him.

Seymour Hisenberg,
11 West 42nd Street.

(Please turn to page 116)

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The New Movie Magazine, February, 1932 115

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Box Office Critics

(Continued from page 115)

From Gandhi’s Country

Lucknow, India,

I have just been looking through the
July issue of your wonderful magazine.
These New Movigs have been very
kindly sent to me by my American cor-
respondent. They are the movie mag-
azines I and all our family have fully
appreciated and read with interest.

I saw Marlene Dietrich in “Morocco,”’
and am positive that she is nowhere an
equal to Greta Garbo who has been my
favorite for some years now.

Miss Dietrich may act well and talk
well, but her singing was just about
dreadful. How Herb Howe could want
to run away and join the Foreign
Legion is beyond my understanding.

I have noticed that in the July issue
of your magazine there was not a
single photo of Greta Garbo, and this
was very disappointing to me as I read
every bit about this great star that I
can set my eyes on.

Do not disappoint me again in your
next magazine.

Miss P. Soorma,
2 Fawnbrake Avenue,
Havelock Road.

Wants Time to Read Cast

Jan Francisco, Calif.

Why don’t the theatres give you
time to read the names of the actors in
pictures?

They leave on the names of camera-
men, directors, ete., and who cares?
But when it comes to the actors I do
like to get sufficient time to see who
are playing the parts.

In “Alexander Hamilton” there was
a beautiful sweet blonde girl who
played opposite Myr. Arliss, who I
thought was about the prettiest girl I
had seen in a long time and she was
splendid in her part, but I haven’t
been able to find out what her name
was. I stayed over until they showed
the names a second time, and I read
fairly fast, but still didn’t have time to
get to the bottom of the list.

In “Don’t Bet on Women” there was
a girl who took the part of a servant,
who was the best part of the whole pic-
ture and I didn’t get her name either,
but in my opinion she was the whole

show.
B. M. Pierce,
555 Bush St.

Wants to Star Beryl Mercer

East Orange, N. J.

Quite often recently, I have seen that
delightful actress, Beryl Mercer, in pic-
tures which did not seem to me to give
her as much opportunity to shine as
she really deserves.

I think she is one of the few older
women who appeal to everyone in the
audience. Her mother roles are so well
done that you would think she was the
real mother of the one acting with her.
She was a dear in “The Man In Pos-
session.” Although her name did not
appear with those of the stars of the
piece, her work had a lot to do with
the success of the picture. i

How I would love to see her in pic-
tures that have been chosen especially
for her, giving her star billing. I
think there are many thousands of us

who would flock to see her, because we
already love her through her small
parts in current pictures.
Elizabeth L. Adams,
87 So. Clinton St.

They’re Both Excellent

Philadelphia, Pa.

After seeing Lionel Barrymore por-
tray his part as the drunkard lawyer
in “A Free Soul,’ I am now firmly con-
vinced that he is a greater dramatic
actor than his brother, John.

His performance was so splendid,
real, sympathetic, and so dramatic,
that you stop and wonder how anyone
could be more powerful than he in
portraying that difficult role. Let us
see more of him.

A. J. Nolan,

1830 EK. Passyunk Ave.

Wants Clean Humor
Joplin, Mo.

Just recently I saw two movies that
were positively “smutty,” and how
they got by the Censor Boards is no-
body’s business. Being an ex-vaude-
ville and musical comedy actor I can
readily understand the use of a few
“strong” gags sometimes to waken a
“dead” audience. But it certainly has
no place in the talkies today.

The pictures are indeed becoming
frank, but burlesque has ever been
that way and that’s what we have to-
day in some starring vehicles, except
that the humor is left out.

Bernard J. Hinkle,
Station “A”

Champions the Producers

Omaha, Nebr.

Through the medium of this inter-
esting magazine, may I ask why cer-
tain “wise-cracking” scribes now and
then poke fun at some of our movie
producers, who take great pains to give
us the finest entertainment in the
world? I’ve even seen one executive
referred to as an ex-pants presser and
cap-maker. Of course, these remarks
are all made in fun, but why must this
humor be directed against a man’s
humble beginning? Even many bank
presidents have started life as office
boys or messengers.

Please lets not hear any more slams
at our movie men, who despite many
hardships stayed with the industry
and made it what it is today.

A. Edward Himelstein,
1815 N. 20th Street.

That Garbo-Gable Team!

Waterloo, Iowa.

Forty cheers for the Garbo-Gable
team!

We held our breath for the release of
“Susan Lenox” and when it came it
swept over us like a giant wave.
They’re marvelous! Wonderful! Those
two unmatchable stars. They broke
hearts and mended them in their sepa-
rate pictures, but what they did to-
gether in our town can’t be described.

Yours for more and more of the
Garbo-Gable productions.

Marion G. Roedel,
Station “A”

The New Movie Magazine, February, 1932

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